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MANUAL 


OF 

Ecclesiastical  Architecture. 

COMPRISING 


A STUDY  OF  ITS  VARIOUS  STYLES, 

THE  CHRONOLOGICAL  ARRANGEMENTS  OF  ITS  ELEMENTS, 
AND  ITS  RELATION  TO  CHRISTIAN  WORSHIP. 


BY 

PROF.  WILLIAM  WALLACE  MARTIN. 


Wxt\j  550  Sllmtxatxom. 


CINCINNATI : CURTS  & JENNINGS. 
NEW  YORK:  EATON  & MAINS. 
1897. 


COPYRIGHT 

BY  CURTS  & JENNINGS, 


®0  ttjB 

REV.  ALBERT  S.  HUNT,  D.  D. 

Corresponding  Secretary  of  the  American 
Bible  Society, 

whose  Christian  Friendship  and  counsel,  as  God’s  sunshine, 
have  blessed  my  life, 

3 gratefulhj  bebicato  tips  book. 


PREFACE. 


HIS  manual  of  Ecclesiastical  Architecture  was  writ- 


ten with  love,  not  alone  for  architecture,  but  also 
for  the  Christian  religion.  Therefore,  expressions  of  de- 
light will  be  found  in  these  pages  wherever  the  architec- 
tural form  seems  the  fitting  embodiment  of  the  faith 
and  hope  which  animate  Christian  life.  The  noble 
teachings  of  the  Christ  have  wrought  loveliness  in  hu- 
man character,  have  also  led  to  the  rearing  of  edifices 
peerless  in  their  beauty. 

The  illustrations  in  the  manual  furnish  the  facts  by 
which  the  statements  in  the  text  may  be  established  in 
the  main.  Those  illustrations  belonging  to  the  Medi- 
aeval styles  were  taken  from  German,  French,  and  Eng- 
lish sources,  and  it  would  be  impossible  to  indicate, 
gladly  as  I would,  those  who  gave  them  first  to  the  pub- 
lic. A few,  belonging  to  the  Modern  styles,  are  used 
by  the  permission  of  Messrs.  Ticknor  & Co.,  Boston, 
publishers  of  the  Architect  and  Builder , and  foremost 
promoters  of  lofty  architectural  ideals  in  our  own  coun- 
try. Many  of  the  illustrations  belonging  to  the  Modern 
styles  were  drawn  specially  for  this  work. 

I would  thank  Mr.  A.  W.  Whelpley,  Librarian  of  the 
Cincinnati  Public  Library,  who  placed  at  my  service 
the  valuable  collection  of  architectural  works  under  his 
charge.  Every  investigator  in  Cincinnati  finds  in  him 


v 


VI 


Preface . 


a most  valuable  friend.  I would  also  thank,  first,  Mr. 
Charles  Crapsey,  of  Cincinnati,  for  a valuable  collection 
of  photographs  and  engravings  upon  Modern  Church 
Architecture,  and  also  Mr.  S.  R.  Badgley,  of  Cleveland, 
for  similar  kindness.  These  two  gentlemen  are  archi- 
tects of  most  approved  and  high  reputation. 

Each  illustration  has  been  carefully  selected  and 
specially  engraved  for  this  work.  They  are  so  arranged 
that  a study  of  them,  apart  from  the  text,  will  give  a 
complete  view  of  the  development  of  ecclesiastical  archi- 
tecture. Tables  have  been  inserted  which  give  the  prin- 
cipal edifices  of  each  style  except  the  Modern  style.  A 
glossary  is  appended  to  facilitate  the  understanding  of 
technical  terms.  The  index  is  prepared  according  to 
topics  and  places. 

May  the  book  teach  its  readers,  that  among  the  many 
evidences  of  Christianity,  no  student  may  ignore  the 
mighty  testimony  to  its  truth  and  power  which  the 
noble  cathedrals  of  Europe,  belonging  to  other  times, 
and  the  beautiful  churches  in  which  we  worship,  proffer 
to  each  thoughtful  mind ! 


W.  W.  MARTIN. 


TABLE  OF  CONTENTS. 


CLASSICAL  ARCHITECTURE. 

Page. 

Chapter  I. — The  Inheritance  of  Ecclesiastical  Architecture,  3 
ARCHITECTURE  with  architrave  and  the  round  arch. 
Chapter  II. — Basilican  Style,  Early  Christian  Architecture,  . 42 

Chapter  III. — Byzantine  Style, 66 

A.  Typical  Examples, 69 

B.  Byzantine  Characteristics, 77 

C.  Varieties  of  Byzantine  Style, 79 

ARCHITECTURE  WITH  THE  ROUND  AND  POINTED  ARCH. 

Chapter  IV. — Romanesque  Style, 92 

A.  Construction  of  the  Romanesque  Church,  ...  94 

B.  Early  Romanesque, 104 

C.  Perfected  Romanesque, . . . . 117 

D.  Romanesque  Transitional  Style, 127 

E.  Striking  Features  of  the  Romanesque  Style,  . .131 

Chapter  V. — Romanesque  Architecture  in  Europe,  ....  141 

I.  In  Italy, 14 1 

II.  In  Germany, 147 

III.  In  France, 153 

IV.  In  England, 159 

V.  In  Spain, 165 

ARCHITECTURE  WITH  THE  POINTED  ARCH. 

Chapter  VI. — Gothic  Style, 171 

A.  Construction  of  the  Gothic  Church, 175 

B.  Early  Gothic  Style, 195 

C.  Perfected  Gothic  Style, 206 

D.  Late  Gothic  Styles, 217 

(1)  Perpendicular  Style, 217 

(2)  Flamboyant  Style, 225 

E . Striking  Features  of  the  Gothic  Style, 231 

vii 


Table  of  Contents. 


viii 

Page. 

Chapter  VII. — Gothic  Architecture  in  Europe, 247 

I.  In  France, 248 

II.  In  England, 256 

III.  In  Germany, 266 

IV.  Elsewhere  in  Europe, 276 

Chapter  VIII. — Elements  of  Mediaeval  Architecture,  Chrono- 
logically arranged, 288 

I.  Development  of  the  Pier, 288 

II.  Development  of  the  Nave-bays, 29c 

III.  Development  of  the  Vaulted  Ceiling, 293 

IV.  Development  of  Decorative  Forms, 295 

V.  Development  of  the  Cornice,  Balustrade,  etc.,  . 301 

VI.  Development  of  the  Buttress 305 

VII.  Development  of  the  Window, 307 

VIII.  Development  of  Portals, 313 

IX.  Development  of  the  Tower  and  the  Spire,  . . . 317 

MODERN  ARCHITECTURE  WITH  ARCHITRAVE  AND  ROUND  ARCH. 

Chapter  IX. — Renaissance  Style, 322 

A.  Structural  Features  of  the  Renaissance,  ....  325 

B.  Renaissance  Exteriors, 328 

C.  Renaissance  Interiors, 337 

D.  The  Periods  of  the  Renaissance, 344 

(1)  Early  Renaissance, 344 

(2)  Perfected  Renaissance, 351 

(3)  Late  Renaissance, 357 

(4)  Late  Classical  Revival, 362 

E.  Renaissance  Architecture  in  Europe, 368 

MODERN  ARCHITECTURE  WITH  ROUND  AND  POINTED  ARCH. 

Chapter  X. — Architecture  of  the  Modern  Church, 374 

A.  Development  of  the  Protestant  Church  Edifice,  . 377 

B.  Ground-plans  of  the  Modern  Church, 388 

(1)  Altar  as  Central, 388 

(2)  Pulpit  as  Central, 389 

C.  Types  of  Interiors  in  the  Modern  Church,  . . . 393 

D.  Architectural  Styles  of  the  Modern  Church,  . . 399 

(1)  Modern  Renaissance, 400 

(2)  Modern  Romanesque, 403 

(3)  Modern  Gothic, 408 

E.  The  Architecture  and  Worship  of  Christians,.  . 413 


LIST  OF  ILLUSTRATIONS 


„ FROM  CLASSICAL  ARCHITECTURE. 

FlG-  Page. 

1.  Ground-plans  of  Grecian  Temples, 5 

2.  Parthenon  at  Athens, . 7 

3.  Doric  Column, 

4.  Doric  Entablature, 8 

5.  Doric  Painted  Entablature, 9 

6.  Ionic  Column, 

7.  Ionic  Entablature, 

8.  An  Attic  Column  Base,  a Corner  Capital, 12 

9.  Ionic  Pilaster-capitals, 

10.  Erechtheum,  Athens, !4 

11.  Atlantes, 15 

12.  Corinthian  Capitals  from  a Pilaster  and  a Column,  ....  15 

13.  Corinthian  Entablature  with  Details, 16 

14.  Construction  of  Entablature, .18 

15.  Its  Artistic  Features, 19 

16.  Antae  Capital  and  Wall-border, 20 

17.  Wall-border  and  Pilaster  from  Erechtheum, 20 

18.  Portal  of  the  Erechtheum, 21 

19.  City  Gate,  Perugia, 23 

20.  Cloaca  Maxima,  Rome, 23 

21.  Arch  of  Titus, 24 

22.  Theater  of  Marcellus,  . 25 

23.  Coliseum,  Rome, 26 

24.  Vaults,  Circular,  Cross,  Domical, 27 

25.  Baths  of  Caracalla, 28 

26.  Ground-plan  of  Pantheon, 30 

27.  Diagonal  Section  of  the  Pantheon, 31 

28.  Section  of  Temple  at  Nocera, 32 

29.  Section  of  a Roman  Bacchus  Temple, 33 

30.  Geometrical  Patterns, 33 

31.  Grecian  Decorative  Elements, 34. 

32.  Decorative  Arcade, 36 

33.  Acanthus-leaf  Scroll, 36 

ix 


x List  of  Illustrations. 

Fig.  Page. 

34.  Acanthus  Plants  and  Rosettes, 37 

35.  Vine  Foliage, . . . 38 

36.  Leaf  and  Bead  Decoration, 38 

37.  Leaf  and  Acorn  Decoration, 39 

38.  Ancient  Roman  Frieze, ...  40 

OF  THE  BASILICAN  STYLE. 

39.  Relief  of  the  Triumph  of  the  Church, 45 

40.  Plan  of  St.  Clement,  Rome, 46 

41.  Arch  of  Constantine, 48 

42.  Plan  of  St.  Paul’s  Beyond  the  Walls,  49 

43.  Elevation  of  St.  Paul’s  Beyond  the  Walls, 50 

44.  Grecian  Temples, 51 

45.  Interior  of  the  Ancient  St.  Peter’s, . . . 53 

46.  Sanctuary  of  St.  Paul’s  Beyond  the  Walls, 55 

47.  Ground-plans  of  Baptisteries, 59 

48.  Baptistery  of  the  Lateran, 60 

49.  Church  of  St.  Apollinare,  at  Classe, 61 

OF  THE  BYZANTINE  STYLE. 

50.  Roman  Domical  Temples, 68 

51.  Plan  of  St.  Vitale, 69 

52.  Longitudinal  Section  of  St.  Vitale, 70 

53.  Exterior  View  of  St.  Sophia,  Constantinople, 71 

54.  Ground-plan  of  St.  Sophia, 73 

55.  Domical  System  of  St.  Sophia, • • • 74 

56.  Interior  View  of  St.  Sophia, 76 

57.  Byzantine  Capitals, 78 

58.  Ground-plan  of  Charlemagne’s  Chapel, 80 

59.  Longitudinal  Section  of  Charlemagne’s  Chapel,  ...  .80 

60.  Exterior  View  of  Charlemagne’s  Chapel, 81 

61.  Church  of  the  Assumption,  Moscow,  ....  82 

62.  Cathedral  of  Vassili  Blanskenoy,  Moscow, 84 

63.  Church  of  St.  Taxiarchus,  Cynthus, 85 

64.  Cathedral  of  Ani,  Armenia, 86 

65.  Cathedral  of  Argish,  Wallachia, 88 

OF  THE  ROMANESQUE  STYLE. 

66.  Ground-plan  of  Church  at  Dobrilugk, 95 

•67.  Plans  of  Cathedral  at  Parma,  and  Abbey  Church,  Konigs- 

lutter, 96 


List  of  Illustrations.  xi 

"Fig.  Page. 

68.  Plans  of  Minster  at  Basle  and  Abbey  at  Heisterbach, . . 97 

69.  Plans  of  Cathedrals  at  Tourney  and  at  Bamberg,  ....  98 

70.  Transverse  Section  of  Romanesque  Church, 99 

71.  Tran  verse  Section  of  Notre  Dame  du  Port, 100 

72.  Romanesque  Ornamental  Forms 101 

73.  The  Wheel-window, 102 

74.  Elevations  of  Romanesque  Churches, 103 

75.  Plan  of  Church  at  Rosheim, 104 

76.  Nave  of  Abbey  Church,  St.  Albans, 106 

77.  Nave  of  Notre  Dame  du  Port, 107 

78.  Nave  of  the  Cathedral  at  Spires, 109 

79.  Cistercian  Church  at  Riddagshausen, m 

80.  Church  at  Mauersmunster, 112 

81.  Church  of  Holy  Trinity,  at  Caen, 114 

82.  Abbey  Church  at  Laach,  115 

83.  Typical  Romanesque  Church, 116 

84.  Chapel  at  Palermo, 118 

85.  Nave  of  Cathedral  of  Santiago  de  Compostella,  . . . .119 

86.  Nave  of  Cathedral  at  Durham, 120 

87.  Church  of  St.  Jak, 123 

88.  Cathedral  at  Spires, 124 

89.  Choir  of  the  Cathedral  at  Mainz,  • • • 126 

90.  Bay  of  Ripon  Cathedral, 129 

91.  Choir  of  the  Church  at  Paffenheim, 130 

92.  Vaulted  Crypt, 132 

93.  Nave  of  Church  at  Waltham, 133 

94.  Ornamental  Patterns, 134 

95.  Romanesque  Columns, 135 

96.  Decorated  Columns  from  St.  Peter’s,  Northampton,  . . 136 

97.  Monldings  of  the  Vaults’  Ribs,  . 137 

98.  Portal  at  Heilsbronn, 138 

99.  Portal  of  the  Cathedral  at  Freiburg, 139 

100.  Cloister  of  St.  Paolo,  Rome, 140 

101.  Plan  of  St.  Miniato,  Florence, 142 

102.  Facade  of  St.  Miniato, 142 

103.  Plan  of  St.  Mark’s,  Venice, 143 

104.  Church  of  St.  Mark’s, 143 

105.  Plan  of  Cathedral  at  Pisa, 145 

106.  Cathedral  of  Pisa, 145 

107.  Cathedral  at  Piacenza, . 146 

108.  Pier  and  Arch  of  Convent  Church  near  Jena,  148 


xii  List  of  Illustrations . 

Fig.  Page. 

109.  Bay  of  Cathedral  at  Worms 150 

no.  Choir  of  Minster  at  Bonn, 151 

in.  Plan  of  Apostles’  Church,  Bonn, 152 

1 12.  Choir  of  the  Church  of  the  Apostles, 152 

1 13.  Plan  of  Church  of  St.  Front,  at  Perigueux, 155 

1 14.  Plan  of  Abbey  Church  at  Frontevrault, 155 

115.  Plan  of  Notre  Dame  du  Port, 156 

1 16.  Choir  of  Notre  Dame  du  Port,  at  Cleremont,  .....  156 

1 17.  Six-parted  Vault, 157 

1 18.  Plan  of  St.  Etienne,  at  Caen, 159 

1 19.  Nave  of  St.  Etienne, . 159 

120.  Plan  of  Cathedral  at  Durham, 160 

121.  Nave-bays  from  Peterboro  Cathedral, 161 

122.  Nave  of  Canterbury  Cathedral, 162 

123.  Tower  of  Castor  Church,  Northamptonshire, 163 

124.  Nave-bay  at  Stonehynge, 164 

OF  THE  GOTHIC  STYLE. 

125.  Frame-work  of  the  Gothic  Edifice, 176 

126.  Plans  of  the  Cathedrals  at  Munich,  Freiberg,  Amiens,  . 177 

127.  Plans  of  Cathedrals  at  Ulm,  Paris,  Cologne, 178 

128.  Nave  and  Choir,  Lincoln  Cathedral, 181 

129.  Facade  of  Freiberg  Cathedral, ^ 182 

130.  Church  of  St.  Pierre,  Caen,  183 

131.  Cathedral  of  York, 185 

132.  The  Forms  of  the  Pointed  Arch, 186 

133.  The  Cross-section  of  a Gothic  Pier, 187 

134.  Nave  and  Aisle-construction  from  Cathedral  at  Halber- 

stadt, 188 

135.  Transverse  Section  from  Cathedral  of  Amiens, 189 

136.  Side  View  of  Strasburg  Cathedral, 191 

137.  Gothic  Ornamentation, 192 

138.  Cross-section  Cathedral  at  Halberstadt, 194 

139.  Cathedral  of  Coutances, 197 

140.  Cathedral  of  Chartres, 198 

141.  Notre  Dame,  at  Paris, 200 

142.  Choir  of  Notre  Dame,  at  Chalons, 202 

143.  Bay  of  Notre  Dame,  Paris, 203 

144.  Bay  of  Gloucester  Cathedral,  203 

145.  Choir  of  Westminster  Abbey,  London, 204 

146.  Portal  of  St.  Martin’s  at  Colmar, 205 


List  of  Illustrations.  xiii 

Fig.  Page. 

147.  Cathedral  of  Rheims, 208 

148.  Cathedral  at  Strasburg, 210 

149.  Choir  of  St.  Barbara’s,  Kuttenberg, 212 

150.  Nave  of  Strasburg  Cathedral, 213 

151.  Nave  of  Winchester  Cathedral, 215 

152.  Portal  of  Church  at  Thann, ...  216 

153.  Novel  Pointed  Arches, 218 

154.  Choir  of  Gloucester  Cathedral, 219 

155.  King’s  College  Chapel, 220 

156.  Divinity  School,  Oxford, 221 

157.  Fotheringhay  Church,  Northamptonshire, 223 

158.  St.  Neot’s  Church, 224 

159.  Church  at  Caudebec, 227 

160.  Cathedral  of  Orleans, 228 

161.  Screen  of  Altar  in  Madeleine  Church,  Troyes, 229 

162.  Cathedral  at  Alby, 230 

163.  Gothic  Balustrades, 232 

164.  Details  of  the  Gothic  Buttress, 234 

165.  Spire  of  the  Church  at  Esslingen,  1 235 

166.  Examples  of  Gothic  Window- tracery, 236 

167.  Gargoyle  Ornaments, 237 

168.  The  Gothic  Keystone  of  the  Arch, 238 

169.  Gothic  Arch  Mouldings,  239 

170.  Gothic  Clustered  Columns, 240 

171.  Foliage  on  Gothic  Capitals, 241 

172.  Foliage  in  the  Gothic  Frieze 243 

173.  Tomb  of  Edward  III,  Westminster  Abbey,  London,  . 244 

174.  Sainte  Chapelle,  Paris, 250 

175.  Plan  Noyen  Cathedral, 252 

176.  Side  View  of  Notre  Dame,  Paris, 253 

177.  Triforium  of  a Bay  in  Amiens  Cathedral, 254 

178.  A French  Gothic  Chapel, 255 

179.  Old  St.  Paul’s,  London, 258 

180.  Westminster  Abbey,  London, 260 

181.  Lichfield  Cathedral, 261 

182.  Howden  Church, 262 

183.  St.  Mary’s,  at  Taunton, 264 

184.  St.  Stephen’s,  at  Norwich, 265 

185.  Plan  of  Church  at  Schlettstadt, 268 

186.  Plan  of  Magdeburg  Cathedral, 269 

187.  Church  at  Thann, 269 


XIV 


List  of  Illustrations. 


Fm.  Page, 

i 88.  Cathedral  of  St.  Stephen’s,  Vienna, 271 

189.  Interior  of  St.  Stephen’s,  Vienna, 272 

190.  St.  Mary’s,  at  Brandenburg, 273 

191.  Cathedral  of  Cologne, 275 

192.  Choir-bay  of  Cathedral  at  Toledo, 277 

193.  Plans  of  the  Cathedrals  at  Barcelona  and  Palma,  ....  279 

194.  Portal  from  Cloister  Church  at  Batalha, 286 

195.  Cathedral  of  Sienna, 282 

196.  Gable  from  Cathedral  of  Florence,  283 

OF  THE  ELEMENTS  OF  MEDIAEVAL  ARCHITECTURE. 

197.  Pier  Variations, 289 

198.  Romanesque  Naves, 290 

199.  Gothic  Naves, 292 

200.  Cross-vault,  293 

201.  Round  and  Pointed  Arched  Vaults, 293 

202.  Vault  with  Keystone, 294 

203.  Decorated  Pointed  Vaults, 294 

204.  Basilican  Decorations, 295 

205.  Romanesque  Geometrical  Decorations, 296 

206.  Romanesque  Lineal  Decorations, 297 

207.  Early  Gothic  Foliage  Designs, 298 

208.  Perfected  Gothic  Foliage  Forms, 299 

209.  Foliage  Ornament  of  Late  Gothic, 300 

210.  Geometrical  Designs  of  Late  Gothic, 301 

21 1.  Cornices  of  the  Basilican  Style, 302 

212.  Romanesque  Cornices, 302 

213.  Gothic  Balustrades  and  Parapets,  . 303 

214.  Flamboyant  Parapets, 304 

215.  Romanesque  Buttresses, 305 

216.  Gothic  Buttresses, 306 

217.  Windows  of  the  Basilican  Style, 307 

218.  Early  Romanesque  Windows, 308 

219.  Perfected  Romanesque  Windows, 309 

220.  Early  Gothic  Windows, 31 1 

221.  Gothic  Windows  of  the  Perfected  and  Late  Styles,  . • . 312 

222.  Basilican  Portals, 313 

223.  Norman  Romanesque  Portal, 314 

224.  Italian  Romanesque  Portal, 315 

225.  Late  Romanesque  and  Transitional  Portals, 3J6 

226.  Gothic  Portals,  317 


List  of  Illustrations.  xv 

Fig.  Page. 

227.  Romanesque  Towers, 318 

228.  Transitional  and  Early  Gothic  Spires, 319 

229.  Perfected  and  Rate  Gothic  Spires, 321 

OF  THE  RENAISSANCE  STYLE. 

230.  Plan  of  S.  Francisca,  Ferrara, 325 

231.  Plan  of  S.  Maria,  Genoa, , . 326 

232.  Flan  of  St.  Peter’s,  Rome, 327 

233.  Plan  of  St.  Paul’s,  London, 327 

234.  Church  of  S.  Maria,  Milan, 328 

235.  Church  of  La  Sorbonne,  Paris, 329 

236.  Church  of  S.  Maria,  Genoa, 330 

237.  Church  of  the  Invalides,  Paris, 332 

238.  Cathedral  de  Vitry  de  Frangais, 334 

239.  Church  of  St.  Bride’s  London, 335 

240.  Church  of  Madeleine,  Paris, 337 

241.  Interior  of  St.  Peter’s,  Rome, 338 

242.  Chapel  at  Versailles  (Interior),  Paris, 339 

243.  Church  of  St.  Martin’s-in-the-Fields,  London, 341 

244.  Choir  of  St.  Paul’s,  London, 342 

245.  Cathedral  at  Florence, 345 

246.  Certosa  at  Pavia . . 347 

247.  Choir  of  St.  Pierre,  at  Caen, 349 

248.  S.  Maria  della  Croce, 350 

249.  St.  Savior’s,  Venice, 352 

250.  St.  Peter’s,  Rome, 353 

251.  Interior  of  St.  Peter’s  at  Rome, 355 

252.  Church  of  Val  de  Grace,  Paris, 358 

253.  Church  of  St.  Mary’s,  Woolworth, 359 

254.  Section  of  Tomb  in  Rouen  Cathedral, 360 

255.  Section  of  an  Arch  from  Church  of  Gesu,  Rome,  ....  362 

256.  Plan  of  French  Pantheon,  Paris, 363 

257.  Pantheon  at  Paris, 364 

258.  St.  Paul’s  Cathedral,  London, 366 

OF  MODERN  STYLES. 

259.  Plan  of  St.  Luke’s  Protestant  Episcopal  Church,  James- 

town, N.  Y., 376 

260.  Plan  of  West  Spruce  Street  Baptist  Church,  Pa.,  ....  377 

261.  McKendree  Chapel,  First  Methodist  Episcopal  Church 

Beyond  the  Mississippi, 378 


XVI 


List  of  Illustrations. 


Fig.  Page. 

262.  Old  Brick  Methodist  Episcopal  Church,  Cincinnati,  . . . 379 

263.  Morris  Chapel  Methodist  Episcopal  Church,  Cincinnati,  . 381 

264.  Old  McKendree  Methodist  Episcopal  Church,  South, 

Nashville, 382 

265.  McKendree  Methodist  Episcopal  Church,  South,  Nash- 

ville,   383 

266.  Memorial  Presbyterian  Church,  Gettysburg,  Penn.,  . . . 385 

267.  Methodist  Episcopal  Church  at  St.  Augustine,  Fla.,  . . . 386 

268.  Methodist  Episcopal  Church,  Norwalk,  O., 387 

269.  Plan  of  St.  Martin’s  Roman  Catholic  Church,  New 

Haven, 388 

270.  Plan  of  St.  John’s  Roman  Catholic  Church,  Jersey  City,  . 389 

271.  Plan  of  the  Nave  or  Ark  Church, 390 

272.  Plan  of  Memorial  Presbyterian  Church,  Gettysburg,  . . 391 

272.  Plan  of  English  Lutheran  Church,  Cincinnati, 391 

273.  Plan  of  Methodist  Episcopal  Church,  Washington  Court 

House,  O., 392 

273.  Plan  of  Methodist  Episcopal  Church,  Norwalk,  O.,  . . . 392 

274.  Interior  of  English  Lutheran  Church,  Cincinnati,  . . . 393 

275.  Longitudinal  Section  of  Washington  Court  House  Meth- 

odist Episcopal  Church, 395 

276.  Interior  of  Epworth  Methodist  Episcopal  Church,  Cleve- 

land, O., 396 

277.  Interior  of  Calvary  Presbyterian  Church,  Cleveland,  O.,  . 398 

278.  English  Lutheran  Church,  Cincinnati,  O., 401 

279.  Methodist  Episcopal  Church,  Washington  Court  House, 

Ohio, 402 

280.  Madison  Avenue  Methodist  Episcopal  Church,  New  York 

City, 403 

281.  Baptist  Church,  Newton,  Mass., 405 

282.  First  Presbyterian  Church,  Duluth,  Minn., 406 

283.  St.John’s  Roman  Catholic  Church,  Jersey  City, 407 

284.  St.  Mary’s  Roman  Catholic  Church,  New  Haven,  ....  408 

285.  Memorial  Presbyterian  Church,  Baltimore, 409 

286.  West  Spruce  Street  Baptist  Church,  Philadelphia,  . . .411 

287.  New  Old  South  Church,  Boston, 412 


Htcbitectuce 

...of  tbe... 


Christian  Cburcb. 


building,  therefore,  shows  man  either  as  gathering  of 
governing;  and  the  secrets  of  his  success  are  his  knowl- 
edge of  what  to  gather  and  how  to  govern*  These  are  the 
two  great  intellectual  Lamps  of  Architecture ; the  one  consist- 
ing in  a just  and  humble  veneration  for  the  works  of  God  upon 
the  earth,  and  the  other  in  an  understanding  of  the  dominion 
over  those  works  which  has  been  vested  in  man* 


RUSK1N. 


STUDY  OF  ECCLESIASTICAL  STYLES. 


Chapter  I* 

THE  INHERITANCE  OF  ECCLESIASTICAL  ARCHITEC- 
TURE. 

§ Roman  Architecture.  The  wealth  of  Grecian  and 
Roman  architecture  became  the  inheritance  of  Chris- 
tians in  the  day  of  their  triumph.  Rome  received  the 
cardinal  principles  of  art  from  Greece.  But  when  she 
applied  them,  her  hand  raised  mightier  edifices  than  her 
teacher,  and  adorned  them  with  greater  magnificence. 
The  ancient  mistress  of  the  world  had  brought  all  coun- 
tries under  her  tyrannical  though  beneficent  sway  be- 
fore she  built  her  greatest  temples,  her  largest  theaters, 
and  her  marvelous  baths.  She  first  trained  and  equipped 
her  legions,  so  that  they  were  a better  protection  than  for- 
tresses and  walls.  And  later,  when  she  would  beautify 
her  imperial  city,  she  wrought  out  of  stone  a new  maj- 
esty, and  crowned  herself  with  the  splendors  of  a great 
architecture. 

§ Grecian  Architecture.  Greece  created  her  archi- 
tecture. She  did  not  improve  upon  that  of  a noble  pre- 
decessor. Her  art  was  as  simple  in  structure  as  the 
flowers  which  bloomed  along  her  waysides  and  upon  her 
hills.  And,  if  as  simple,  also  as  beautiful.  Flowers  are 
not  without  colors;  nor  were  Grecian  temples  without 
ornament.  But  the  blossoms  we  most  love  are  those 
wherein  color  and  form  blend  simply  and  sweetly.  This 

3 


4 


Ecclesiastical  Architecture. 


rare  charm  is  in  the  Grecian  art.  Ornament  but  beau- 
tifies the  form  and  heightens  the  attractiveness  of  the 
temples  of  Greece.  Moreover,  all  parts  of  her  edifices 
were  governed  by  the  laws  of  moderation,  and  the  flower- 
world  is  no  more  under  the  dominion  of  symmetry  than 
is  Grecian  architecture. 

§ Method  of  Study.  House-building  requires  a plan, 
the  rearing  of  walls,  and  the  roof-covering.  Yet  this  all 
may  be  done  and  there  be  no  architecture.  Beauty  of 
form  and  of  adornment  must  first  enter  before  the  archi- 
tectural art  can  appear.  As  Greece  places  Rome  under 
obligation,  and  as  Rome  places  under  obligation  the  Chris- 
tian world,  when  we  consider  these  peoples  in  relation  to 
architecture,  it  is  simplest  to  study  at  first  the  compo- 
nent parts,  first  of  the  Greek,  and  afterward  of  the 
Roman  architecture.  Yet  we  may  not  enter  into  an  ex- 
haustive study ; rather,  we  shall  content  ourselves  with 
a statement  of  the  geometrical  figure,  regardless  of  the 
dimensions  of  the  plan  of  a temple ; with  the  form  of 
the  parts  of  a column,  neglecting  their  mathematical  re- 
lations. And  generally,  what  the  eye  sees  and  should 
discern  shall  arrest  our  attention. 

§ Grecian  Temple.  The  Greek  was  essentially  re- 
ligious ; but  a glad  contemplation  of  life,  not  broodings 
upon  the  grave,  wrought  sunshine  in  his  faith,  and  he 
made  his  temples  to  look  beautiful  because  he  fashioned 
them  in  the  light  of  his  faith  ; and  where  the  sculptor 
carved  his  ideals,  there  the  painter  lured  the  eye  by  the 
charms  of  color.  The  typical  plan  of  a Grecian  temple 
was  simply  a rectangle,  having  more  length  than  breadth. 
The  style  of  a temple  was  determined  by  the  positions 
of  columns  and  their  number  in  the  columnar  row 
which  was  iu  front  of  the  temple.  There  were  four 
styles,  dependent  upon  the  position  of  the  columns. 


Its  Inheritance. 


5 


Fiq.  I. 


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GROUND-PEANS  OF  GRECIAN  TEMPLES. 

The  temple  in  antis  (Fig.  i,  i ) has  the  ends  of  the 
walls  built  into  pilaster-like  piers,  called  antae.  Col- 
umns, generally  two  in  number,  intervene  between  these 
antae. 

The  prostyle  has  a series  of  columns,  generally  four 


6 


Ecclesiastical  Architecture. 


in  number,  before  the  temple,  making  the  pronaos  or 
porch.  When  there  is  also  such  a series  of  columns  at 
the  back  of  the  temple  (Fig.  i,  2),  it  is  called  amphi- 
prostyle. 

The  peristyle  or  peripteral  temple  (Fig.  1,  j),  is  sur- 
rounded on  all  sides  with  columns.  Not  unfrequently 
there  are,  at  the  front  and  back,  two  rows  of  columns. 
The  dipteral  (Fig.  1,  /),  is  that  modification  of  this 
style  which  has  a double  row  of  columns  on  each  side. 

§ Specific  Designations.  These  four  terms  were 
generic  terms  with  which  to  describe  the  temple.  A 
further  distinction  was  made  when  the  Greeks  combined 
with  them  a word,  indicating  the  number  of  columns 
which  stood  before  the  temple.  These  specific  terms 
were  tetrastyle,  hexastyle,  octastyle,  decastyle,  and 
dodecastyle,  indicating  that  there  stood  in  front  of  the 
edifice  four,  six,  eight,  ten,  twelve  columns,  respectively. 
The  dipteral  temple  (Fig.  1,  4)  shows  also  a series  of 
columns  on  each  side  of  its  interior.  A roof  was  ex- 
tended from  these  columns  to  the  walls,  forming  a cov- 
ered colonnade,  and  leaving  an  open  court  within  the 
temple.  This  arrangement  was  known  as  the  hypae- 
thral.  The  parts  of  the  temple  (Fig.  1, 3)  are  the  naos, 
or  cella  or  interior ; the  pronaos,  or  vestibule  or  portico  ; 
the  opistodomus,  or  posticum,  which,  perhaps,  was  the 
treasure-room.  There  were  no  windows  in  the  walls  of 
the  naos.  Tight  was  admitted  at  the  top. 

§ The  Parthenon.  The  praises  of  the  Parthenon 
(Fig.  2)  have  been  rehearsed  from  age  to  age.  This 
Grecian  temple  is  most  instructive.  The  walls  of 
the  naos,  within  which  was  the  abode  of  divinity,  are 
mostly  hidden  from  view  by  the  surrounding  noble 
colonnades.  The  sunlight  glows  on  the  columns  and 
throws  between  them  bright  bands  upon  the  walls ; and 


Its  Inheritance. 


7 


the  columns  cast  thereon  their  own  shadows.  The  edi- 
fice is  an  expositor  of  Grecian  faith,  simple,  strong,  beau- 
tiful, with  the  gloom  of  mystery,  surrounded  by  alter- 
nating lights  and  shades.  The  Parthenon  is  of  the  Doric 
order,  octastyle  and  peripteral. 

Fig.  2. 


PARTHENON,  AT  ATHENS. 

§ Doric  Order.  The  Grecians  developed  three  orders 
of  architecture.  The  earliest  was  the  Doric,  and  it  ex- 
pressed repose,  solidity,  strength.  The  members  of  the 
order  are  two,  the  column  and  the  entablature.  There  is 
no  base  to  the  Doric  column.  Upon  the  platform  of  the 
temple  it  firmly  stands.  The  shaft  is  short  and  powerful, 
a safe  support  for  the  weight  of  the  massive  entablature 
above.  It  is  fluted  and  the  edges,  or  arrises,  are  sharp.  The 
column  gently  swells  from  base  upward,  but  soon  dimin- 
ishes in  pleasing  curvature  toward  the  neck.  The  capital 
has  two  parts,  the  echinus  (Fig.  3, 1),  which  is  convex,  and 
has  a diameter  greater  than  the  neck  or  upper  part  of 
the  shaft;  the  abacus  (a),  which  is  a quadrangular  block. 
The  principal  member  of  the  capital  is  the  echinus. 
The  Doric  mind  left  it  simple,  without  sculptured  orna- 
ment. The  Ionic  mind  seized  it  and  carved  a necklace 


8 


Ecclesiastical  Architecture. 


Fig. 


of  pearls  upon  it,  ornamenting  the  colhmn  as  if  it  was  a 
form  graceful  as  a woman’s.  The  Corinthian  mind  beheld 
in  the  column  other  significance.  The 
shaft  to  it  was  the  tree-stem,  and  the 
capital  was  the  place  for  the  budding  of 
leaves  and  the  blossoming  of  flowers. 
Therefore  the  echinus  becomes  most  im- 
portant in  determining  the  order  of  archi- 
tecture. 

There  are  in  the  Doric  entablature 
(Fig.  4)  three  parts:  (1)  the  Doric  archi- 
trave, which  is  a massive  rectangular 
block  reaching  from  column  to  column  ; 
(2)  the  Doric  frieze,  which  rests  solidly 
upon  the  architrave.  The  two  divisions 
within  the 
frieze  are  rea- 
dily observed. 
doric  column.  Three  beams, 
with  their  faces  against  each 
other,  reach  from  the  archi- 
trave to  the  walls  of  the  tem- 
ple, and  their  three  ends  are 
seen,  making  the  triglyph. 

Between  the  triglyphs  the 
second  division  or  metope  (Jj) 
is  found.  The  sculptor  often 
carved  alto-reliefs  for  these 
metopes,  in  which  were  cele- 
brated the  deeds  of  gods  and 
men.  It  was  highest  genius 
which  wrought  a chief  beauty 
in  the  early  Doric  temple  by 
transforming  beam-ends  into 


DORIC  ENTABLATURE- 


triglyphs,  and  adorning 


metopes  with  splendid  sculpture.  (3)  The  Doric  cornice 


Its  Inheritance. 


9 


is  the  third  member  in 
the  entablature,  and  it  is 
composed  of  the  corona, 
which  is  the  lower  por- 
tion, and  the  ogee,  which 
is  above  the  crown 
moulding  and  is  deco- 
rated with  gargoyles,  re- 
sembling a lion’s  head. 

Sometimes  the  ogee 
moulding,  is  sepa- 
rated and  raised  so 
as  to  form  a gable, 
which  is  named  a 
pediment.  The  triangular 
space  within  the  pediment 
is  the  tympanum.  hater 
Doric  architects  made  imitations 
of  the  triglyphs,  when  they  no 
longer  represented  the  heavy  stone 
beams  resting  on  the  architrave  and 
entering  into  the  temple’s  walls  in 
order  to  support  the  stone-ceiling 
pieces.  It  was  done  in  this  way : 
quadrangular  blocks  were  carved  to 
resemble  the  ends  of  three  beams 
behind  which  were  the  smaller  roof- 
beams  which  held  up  the  rafters 
and  tiling  of  the  roof. 

§ Polychromy.  The  practice  of 
painting  certain  parts  in  party-col- 
ors (Fig.  5),  which  was  called  poly- 
chromy, had  its  finest  development 
in  connection  with  the  Doric  temple, 


Fig.  5. 


DORIC  PAINTED  EN- 
TABLATURE- 


IO 


Ecclesiastical  Architecture. 


yet  in  the  portions  only  where  the  Greek,  with  his  chisel, 
had  wrought  beauty  in  stone.  Polychromy,  therefore, 
became  a helpful  guide  to  the  eye  in  separating  the 
members  of  the  order.  Transitions  of  parts  were  desig- 
nated by  lines  and  angles,  and  here  were  painted  beau- 
tiful fret-patterns,  while  designs  with  curved  outlines 
adorned  those  parts  of  the  different  members  of  the 
order  most  pleasing  to  the  eye.  Hence  the  top  of  the 
shaft,  the  echinus,  the  upper  part  of  the  triglyph,  and 
the  ogee,  had  graceful  ornamentation  constructed  out  of 
curves.  The  prevailing  color  in  these  parts  was  blue. 
Backgrounds,  such  as  those  of  the  metopes  and  tympa- 
num, were  of  a brown  red.  The  antefixae  were  very  often 
beautified  with  painted  embellishments.  We  are  to  re- 
member that  most  temples  were  built  of  marble,  and 
that  they  crowned  a hill.  How  lovely,  then,  must  the 
Doric  temple  have  looked  to  one  when  the  clear  sunlight 
of  Greece  set  forth  its  strong  and  attractive  proportions 
and  touched  the  colors  with  which  it  was  adorned  into 
beauty  ! 

§ Ionic  Order.  Earliest  Doric  temple-architecture 
was  truthful  in  its  several  parts.  The  triglyphs  were 
then  in  fact  ends  of  beams  which  sustained  the  roof. 
But  this  method  of  roof-support  was  cumbersome  as 
well  as  heavy.  So  architects  in  later  times  retained  the 
triglyphs  for  ornament,  while  they  adopted  another  mode 
of  roofing.  Thus  the  triglyphs  lost  their  truthfulness. 
Ionic  architecture  is  richer  than  the  Doric,  more  beauti- 
ful and  more  graceful.  This  order  has  the  same  members 
as  the  Doric.  But  its  columns  (Fig.  6)  are  lifted  from  the. 
temple-platform  and  set  upon  bases,  and  so,  through  this 
new  feature,  greater  height  is  obtained.  The  Ionic  base 
consists  of  two  parts,  the  several  cavetti  and  the  torus, 
above  them.  The  shaft  is  tall  and  slender.  The  chan- 


Its  Inheritance. 


i 


neling  in  it  is  deeper  and  more  numer-  F,G*  6- 
ous,  and  the  annulets,  which  separate 
these  channels,  have  considerable  thick- 
ness. Sometimes  the  lower  part  of  the 
shaft  is  richly  sculptured.  But  the 
capital  is  what  gives  the  most  dis- 
tinctive characteristic  to  the  Ionic  col- 
umn. The  echinus  is  carved  into  an 
ovolo  and  volutes  in  the  Ionic  capital. 

The  ovolo  is  quarter-round,  and  be- 
neath it  is  a pearl-beading.  Indeed, 
one  might  almost  say  that  the  neck  of 
the  column  is  ornamented  with  pearls. 

The  volutes  are  spiral  curves,  like 
tresses  curled  upon  the  head  of  the 
column.  The  Ionians  felt  the  beauty 
and  grace  of  their  columns,  and  they 
seldom  permitted  the  observer  to  asso- 
ciate them  alone  with  the  plant-life. 

Rather,  they  will  make  us  think  also  of 
the  female  figure  and  of  its  grace  and 
beauty.  A transformation  takes  place  in 
the  abacus,  for,  instead  of  being  a quad- 
rangular block,  it  is  circular  and  beauti- 
fully carved  like  a crown.  There  are 
three  members  in  the  entablature  (Fig. 

7)  : the  architrave,  which  is  not  one 
large  block,  as  in  the  Doric,  but  consists 
of  faciae,  usually  three  in  number,  of 
which  each  upper  one  projects  slightly 
over  the  one  beneath  it.  A moulded 
band  caps  this  architrave.  The  mem- 
ber above  it  is  the  frieze.  There  are  no  divisions  here  as 
in  the  Doric,  but  paintings  were  often  wrought  upon  its 
surface,  and  often  arabesques,  beautifully  colored.  The 


ionic  column. 


12 


Ecclesiastical  Architecture. 


Fig.  7. 


cornice  is  the  highest  member  in  the  entablature.  Its 
corona  had  beneath  what  appeared  to  be  small  cubical 

blocks,  which  are  called 
dentiles.  Undoubtedly 
at  first  these  blocks 
were  but  the  ends  of 
small  beams,  used  to 
support  the  roof,  and  so 
were  an  expedient  in  place  of 
the  Doric  triglyphs.  Later, 
however,  these  dentiles  were 
cut  in  a quadrangular  block 
on  its  under  side,  and  this 
block  was  placed  upon  the 
frieze.  The  ogee  is  the  top- 
most moulding,  and  culmi- 
nates, with  its  beauty,  in  the 


entablature. 


IONIC  ENTABLATURE). 


§ Modified  Columns.  At- 
tention should  be  directed  to  the  Ionic  column  (Fig.  8,  2), 
in  regard  to  the  modifications  it  suffered  when  it  stood  at 


1.  ATTIC  BASE. 


2.  CORNER  CAPITAL. 


Its  Inheritance. 


13 


one  of  the  corners  of  the  colonnade.  Then  two  of  its 
adjacent  sides  have  spool-like  forms,  with  central  bands. 
The  corner  column  necessarily  terminates  two  colon- 
nades, and  its  capital  was  so  made  that  its  volutes  corre- 
sponded to  the  volutes  of  each  colonnade.  Hence  the 
peculiar  form  of  this  corner  capital.  And  here  mention 
may  be  made  of  the  pilasters  in  the  Doric  and  Ionic 


IONIC  PirASTER-CAPITArS. 


styles.  They  were  made  to  resemble  columns,  but  not 
so  as  to  deceive.  The  Ionic  pilaster  (Fig.  9)  showed  at 
its  summit  a kind  of  capital  with  volutes  on  its  sides  and 
carvings.  The  Attic  order  was  essentially  the  same  as 
the  Ionic.  However,  a new  base  (Fig.  8,  1 ),  named  the 
Attic,  usurped  the  place  of  the  Ionic  base.  In  this  new 
base  there  were  two  tori,  which  a single  cavetto  sepa- 
rated. Attic  columns  had  also,  at  their  neck,  what 
seemed  to  be  almost  lace-patterns,  between  strings  of 
pearls. 

§The  Erechtheum  (Fig.  10).  This  noble  building, 
which  stood  upon  the  acropolis  of  Athens,  exhibits  the 
Ionic  style  after  it  had  culminated  into  its  greatest  ele- 


14 


Ecclesias  tical  A rchitecture. 


gance  and  splendor  under  the  skillful  hand  of  the  Athe- 
nians. The  appearance  is  that  of  a group  of  buildings  : 
the  central  one  is  the  southern  end  of  the  temple  proper 
of  Minerva ; the  western  side,  before  the  temple’s  portal, 
has  a beautiful  vestibule,  which  is  surrounded  with  six 
Ionic  columns;  the  eastern  side  has  the  hall,  dedicated 


ERECHTHEUM. 


to  the  Nymph  Pandrosos,  the  entablature  of  which  is 
sustained  by  the  much-praised  caryatides,  being  female 
forms,  sculptured  in  stone,  and  substituted  for  columns. 
It  does  not  appear  that  this  form  of  column  found  especial 
favor  with  the  Greeks.  Not  the  strength,  but  the  fragile 
grace  of  the  female  figure,  was  a cardinal  thought  with 
the  Grecian.  Hence  the  caryatid  was  an  affront  to  his 
taste.  However,  the  skill  of  the  sculptors,  who  gave  to 
stone  power  to  express  the  flowing  drapery  of  a woman’s 


Its  Inheritance. 


15 


garment,  revealing  also  the  mantled  grace  of  her  form, 
compelled  the  consistent  Greek  to  accept  this  anom- 
aly in  his  architcture  with  admi-  fig.  II. 

ration.  The  Atlantes  (Fig.  1 1) 
were  more  in  harmony  with  the 
demands  of  architecture  and  the 
expectation  of  a Grecian. 

§The  Corinthian  Order.  Its 

essential  characteristic  appears  in 
the  capitals  of  its  columns,  and 
also,  among  the  Romans,  in  the 
gorgeous  splendor  of  its  entabla- 
ture. The  astragal  (Fig.  12)  sepa- 
rates the  capital  from  the  shaft. 

Above  it  two  rows  of  acanthus-  atlantes. 

leaves  rise,  one  row  smaller  and  springing  between  the 
interstices  of  the  other.  Behind  them  there  come  up  strong 


Fig.  12. 


CORINTHIAN  CAPITALS  OF  A PILASTER  AND  A COLUMN. 


stems,  which  curl  and  form  graceful  volutes,  which  the 
taller  acanthus-leaves  touch  and  adorn.  The  capital  is  di- 
vided by  the  volutes  into  four  faces,  wherein  are  acanthus- 


i6 


Ecclesiastical  Architecture . 


leaves,  a central  one  being  higher  than  the  adjacent  ones, 
and  above  this  tall  leaf  is  a flower.  The  abacus  is  a 
square  with  incurving  sides,  whose  corners  rest  upon  the 
volutes  of  the  four  branches.  Its  center  is  supported  by 
what  appears  to  be  a truncated  stem.  The  Corinthian 
capital  reminds  us  of  a tree-growth,  arrested  in  order 


Fig.  13. 


CORINTHIAN  ENTABLATURE,  WITH  DETAILS. 


that  its  strength  of  stem  may  be  employed  for  support. 
The  top  has  been  lopped  off,  the  branches  whirled  into 
volutes,  and  the  circle  of  fan-like  leaves  retained  for 
their  beauty.  That  the  Corinthian  capital  is  a flower- 
calyx  is  hardly  an  acceptable  view,  since  we  do  not  asso- 
ciate strength  with  a flower-stem.  The  Ionians  indi- 
cated to  us  the  grace  and  beauty  of  their  columns  by 
ornamenting  the  capitals  with  curls  and  placing  upon 
their  necks  strings  of  pearls.  The  Corinthian  pilaster 
(Fig.  12)  tells  its  own  nature.  It  stands  at  the  wall- 


Its  Inheritance. 


i 7 


corners  or  spaces  the  walls  into  compartments.  More- 
over, it  is  ornament,  reminding  the  observer  of  the  col- 
umns in  front,  resplendent  with  natural  beauty. 

The  entablature  of  the  Corinthian  order  (Fig.  13),  like 
the  column,  is  most  luxuriant  in  its  beauties.  The  plain- 
ness of  the  architrave  above  the  splendor  of  the  capitals 
empties  the  mind  of  its  admiration  only  that  again  it 
may  become  most  enthusiastic  in  seizing  upon  the  mar- 
vels of  the  frieze,  whereon  gifted  artists  arrayed  all  that 
their  genius  and  hand  could  devise  and  execute.  The 
cornice  crowns  the  summit  of  the  buildings,  and  is 
supported  by  the  modillion,  which  is  a scroll-bracket, 
ornamented  beneath  with  the  acanthus-leaf. 

The  eye  is  constantly  addressed  by  the  Grecian  artist. 
The  charm  of  column  and  entablature  makes  the  first 
appeal ; then  the  beauty  of  capital,  and  metope,  and 
cornice ; then,  as  the  beholder  walks  around  the  edifice, 
his  eye  catches  the  charms  in  the  graceful  lines  of  the 
border  and  the  ceiling,  enriched  with  both  leaf  and 
geometrical  forms. 

The  Greek  carefully  hides  all  mechanical  contrivances. 
The  spaces  between  beams  he  fills  with  a ceiling,  which 
he  decorates  with  embellished  scrolls  and  other  forms  of 
exquisite  designs.  Where  entablature  and  rafters  meet, 
he  marshals  all  the  complex  beauty  of  the  cornice  and  the 
frieze,  that  he  may  conceal  beam  and  rafter  ends.  Yet 
in  all  this  he  was  led  by  no  ignoble  pride,  but  rather  was 
actuated  by  a desire  to  confer  just  reward  for  service. 
Where  the  column  begins  to  sustain,  he  adorns  it  with  a 
capital;  and  where  the  entablature  first  lends  support  to 
the  roof,  he  places  the  cornice.  Greek  architecture  was 
ever  noble  in  its  spirit,  and  so  it  rules  amid  the  architec- 
ture of  other  nations  : it. was  ever  beautiful,  through  its 
proportions  and  decorations,  and  so  it  charms  all  after 
ages ; it  was  true  in  its  principles,  and  so  it  abides. 


1 8 Ecclesiastical  Architecture. 

§Roof  and  Ceiling.  The  entablature  of  the  Grecian 
orders  was  but  the  necessary  stone  construction  upon 
which  the  architect  purposed  to  rest  securely  the  ceiling 
and  the  roof  of  his  building.  The  architrave  (Fig.  14,  a), 
stretching  from  column  to  column,  furnishes,  with  the 
wall  of  the  cella,  support  for  the  stone  beams  ( b ) of  the 


ceiling.  The  ends  of  these  blocks  formed,  at  first,  the  tri- 
glyphs. The  metopes  ( d ) are  the  intervening  spaces. 
Flat  stones  slightly  project  over  these  triglyphs  ( c ) and 
give  support  to  the  corona  (/),  which,  in  its  turn,  holds 
up  the  tiles.  L,ater  times  displaced  the  heavy  stone  beams 
of  the  ceiling  by  lighter  construction  ; then  the  triglyph 
was  represented  by  a cubical  block  having  its  outer  face 
sculptured  to  imitate  beam-ends.  The  difference  be- 
tween the  builder  and  the  architect  is  apparent  as  soon 


Its  Inheritance . 


19 


as  this  construction,  when  perfected  (Fig.  15),  is  viewed. 
Between  the  triglyph-blocks  are  inserted  the  metope- 
slabs,  whereon  myths  of  gods  or  the  battles  of  heroes 
were  carved.  Above  and  below  the  triglyphs,  guttse 
were  placed,  and  the  tile,  resting  upon  the  cornice,  was, 


Fig.  15. 


so  to  speak,  bent  upward  to  check  the  water.  The 
outer  face  of  it  was  there  figured  with  leaf-patterns ; and 
where  it  is  perforated  to  let  the  water  in  this  gutter 
flow  off,  a gargoyle — here  having  the  form  of  a lion’s 
head — is  placed.  The  Grecian  architect  builds  only  to 
beautify,  and  hence  the  charm  of  his  creation. 

§ Wall  Decoration.  The  wall-border  and  pilaster- 
capitals  (Fig.  16)  have,  as  ornaments,  the  acanthus-leaf 
and  beautiful  scrolls.  Yet  here  invention  was  free  to 


20 


Ecclesiastical  Architecture. 


work  its  will,  provided  it  gave  forms  of  beauty  to  the  eye. 
Sometimes  the  artist  wrought  in  the  border  and  the  pi- 
laster (Fig.  17)  animal 
] forms.  Yet  such  forms 

only  as  had  passed 
through  the  land  of 
myths  and  were  asso- 
ciated with  wonderful 
lllir/.  , „ stories. 

§ Grecian  Portal. 

The  doorway  was 
simply  jambs  united 
by  the  lintel  (Fig.  18). 
The  Greek,  because 
of  his  love  of  the 
beautiful,  recessed  the 
jambs,  cut  rosettes  in  their  front  faces,  placed  a cornice, 
replete  with  beauty,  above  the  lintel.  The  portal  was 
simple  in  form,  yet  its  splendor  gave  dignity  to  the 


huOiUPfcuieau*;'-  muu 


ANTA^-CAPITAI,  AND  WAm-BORDKR. 


Fig.  17. 


WAI^-BORDER  AND  PILASTER  (P;RECHTHEUM). 


entrance  of  the  temple.  The  ornaments  of  the  lintel 
are  the  same  as  those  of  the  capital,  being  ovolos  and 
acanthus-leaves.  And  that  we  might  not  fail  to  com- 
pare the  glory  of  the  doorway  with  that  of  the  column, 
the  sculptor  carves  a kind  of  volute  upon  the  corbel 
supporting  its  cornice.  The  three  great  orders,  the 


Its  Inheritance . 


21 


Doric,  Ionian,  and  Corinthian,  including  the  ornamenta- 
tion of  the  entablature,  were  a most  precious  inherit- 
ance for  ecclesiastical  architecture  from  Greece.  They 
taught  the  architect  of  the  Christian  world  that  stone 

Fig.  18. 


PORTAL,  OF  ERECHTHKUM. 

could  be  fashioned  into  marvelous  beauty,  and  that  edi- 
fices of  perfect  symmetry,  adorned  with  sculpture  and 
painting,  were  one  of  the  thank-offerings  of  the  pagan 
world  to  their  gods. 

§ Etruscan  Architecture.  The  Romans  employed 
a fourth  order,  known  as  the  Tuscan,  which  is  traceable 


22 


Ecclesiastical  Architecture. 


to  the  Etruscans  and  resembles  the  Doric  order.  They 
also  formed  the  Composite  order,  where  the  capital  ap- 
pears as  a blending  of  the  Ionic  and  Corinthian.  Yet 
Roman  architecture  has  not  its  great  significance,  nor 
did  it  achieve  its  greatest  development,  in  the  use  of 
columnar  orders  for  support  and  in  the  modifications  of 
the  capitals  of  these  orders  in  order  to  secure  new  beauty 
for  Roman  structures.  It  was  in  the  revolutionary  em- 
ployment of  these  orders  simply  as  decorative  ornaments 
that  Roman  architects  showed  their  transforming  hand ; 
for  what  Greece  required  for  support,  Rome  needed 
only  for  decoration. 

It  may  be  said  of  Roman  architecture  that  wherever 
the  columns  of  the  various  orders  entered  into  an  edifice 
as  essential  elements  for  the  purpose  of  support,  the  Ro- 
mans held  strictly  to  the  noble  principles  of  construction 
which  Greece  had  perfected.  But  the  orders  became 
simply  decorative  features  of  a building,  when  the  Ro- 
mans began  to  use  the  arch  for  constructive  purposes  in- 
stead of  the  column  and  its  architrave.  Rome  formed 
her  government  and  conquered  the  world  before  she 
changed  the  brick  buildings  of  her  city  into  marble  edi- 
fices. It  was  from  Etruria  that  Rome  obtained  the  es- 
sential features  of  her  constitution.  The  official  dignity 
of  the  Roman  government  was  expressed  by  the  purple 
robe,  the  pretexta,  the  twelve  lictors  and  fasces,  the 
curule  chair,  and  triumphal  processions.  Yet  these  all 
are  Etruscan.  But  the  Romans  united  to  these  symbols 
of  her  government  a majesty  and  a might  wdiich  the 
Etruscan  originals  scarcely  foreshadowed.  Likewise, 
when  Rome  adopted  the  arch  and  the  arch-vault,  both 
Etruscan  in  origin,  she  developed  then  the  peculiar  and 
all-important  features  of  her  architecture,  all,  indeed, 
which  may  be  called  Rome’s  contribution  to  the  archi- 
tectural art.  In  this  period  structures  were  produced  in 


Its  Inheritance. 


23 


Rome  which  have  been  the  wonder  and  have  called  forth 
the  admiration  of  all  later  times.  For  Christian  archi- 
tecture these  new  features 
have  the  utmost  signifi- 
cance. Rome  received  the 
gift  of  the  three  great 
columnar  orders  from 
Greece.  Rome  received 
also  from  the  Etruscans 
the  arch  and  the  arch- 
vault. Then  her  architects 
dared  to  construct  with 
the  arch,  to  roof  with  the 
arched  vault,  and  to  rele- 
gate column  and  archi- 
trave to  serve  as  deco- 
rative elements.  The 
Etruscans  used  the  arch  in  the  walls  of  their  cities.  The 
gate  at  Perugia  (Fig.  19)  has,  instead  of  a lintel, 

an  arch.  There 
is  above  the 
gate  a semicir- 
cular window, 
ornamented 
with  pilasters. 
The  Romans 
saw  immense 
significance  in 
this  mode  of 
piercing  walls. 
They  extended 
the  principle  to 
cuoaca  maxima,  rome.  the  walls  of 

public  buildings,  and  built  with  the  arch  their  baths, 
theaters,  and  public  buildings.  The  Cloaca  Maxima 


Fig.  19. 


24 


Ecclesiastical  Architecture. 


(Fig.  20)  was  equally  suggestive  to  the  Roman  architect. 
The  Etruscans  built  this  immense  viaduct  in  the  sixth 
century  B.  C.  It  was  a circular  vault  spanning  twenty- 
six  feet. 

Fig.  21. 


§ Roman  Adaptations.  The  Romans  lifted  the  cir- 
cular vault  above  ground,  and  wrought  marvels  of  beauty 
in  their  edifices  by  means  of  the  Etruscan  circular  arch 
and  circular  vault.  The  days  of  the  Caesars  witnessed  the 
noblest  employment  of  the  arch  and  the  arch-vaulting. 
The  grandeur  of  her  architectural  works  in  this  pe- 
riod, like  the  grandeur  of  her  extensive  government,  will 


Its  Inheritance. 


25 


§CircuIar  Arch. 

The  simplest  use  of  the 
arch  is  beautifully  shown 
in  that  triumphal  arch 
(Fig.  21),  which  Titus, 
in  perhaps  70  A.  D., 
built  over  the  principal 
highway  of  Rome.  The 
solid,  pier-like  abut- 
ments, each  set  high  on 
a mighty  base,  declare 
that  a support  other  than 
the  column  is  now  em- 
ployed ; and  the  engaged 
Corinthian  columns  man- 

THEATER  OF  MARCEUUUS. 

ifest  that  the  chief  use 

of  the  orders  now  is  to  decorate.  The  arch  supports  the 
attic  or  half-story  above.  A compartment  of  the  Theater 
of  Marcellus  (Fig.  22)  will  make  clear  how  the  arch  was 
used  in  the  elevation  of  the  walls  of  a building.  Re- 
move the  attic  from  the  Arch  of  Titus,  and  place  above 
the  arch  another  of  similar  kind,  and  all  that  is  essential 
in  the  construction  of  the  walls  of  this  celebrated  theater 


Fig.  22. 


always  excite  the  intelligent  observer  to  highest  admira- 
tion. It  is  true  that  the  exquisite  perfections  in  every 
part  and  ornament  of  a Grecian  building  were  unsought 
by  the  Roman  emperors 
when  they  began  to  build 
with  the  help  of  the  arch ; 
yet  they  made  compen- 
sation by  rearing  colos- 
sal edifices  and  adorning 
them  with  luxurious  ex- 


travagance. 


26 


Ecclesiastical  Architecture . 


is  obtained.  Its  decoration  is  obtained  through  the  two 
orders,  the  Doric  and  the  Ionic.  Below  is  the  substantial 
Doric  order.  All  its  parts  are  distinguishable,  the  archi- 
trave, the  frieze — including  triglyphs  and  metopes — the 

Fig.  23. 


CORISEUM  AT  ROME. 

cornice.  The  more  graceful  and  slenderer  Ionic  order 
gives  ornamentation  to  the  second  story.  The  coliseum 
(Fig.  23)  shows  most  daring  confidence  in  the  strength  of 
this  mode  of  construction.  Three  arches  are  piled  up- 
ward, one  above  the  other,  and  as  if  to  show  the  mighty 
strength  in  this  arch-pierced  structure,  a story  is  made 

< 


Its  Inheritance . 


2 7 


to  surmount  all,  which  is  higher  than  the  stories  below, 
and  almost  a solid  wall.  As  regards  the  decoration,  the 


Fig.  24. 


lowest  story  is  the 
Doric  order;  the 
second,  the  Ionic  ; 
the  third,  the  Co- 
rinthian; and  the 
fourth  has  slender 
pilasters,  with  Co- 
rinthian capitals. 

The  Romans  made 
another  use  of  the 
circular  arch.  They 
formed  them  into 
graceful  arcades  for 
wall- deco  ration, 
placing  within 
them  niches  for 
statues  of  gods  and 
heroes.  The  archi- 
tects of  every  age 
since,  and  so  Chris- 
tian architects,  are 
indebted  to  the 
Romans  for  the 
noble  examples, 
which  they  gave  to 
the  world , of  the  use 
of  the  circular  arch 
in  wall-construc- 
tion, and  of  their 
use  of  the  columnar 
orders  in  classical  architecture  for  wall-decoration. 

§ Kinds  of  Vaults.  The  circular-vault  (Fig.  24,  1) 
is  a series  of  semi-circular  arches,  set  side  by  side,  and 


CIRCULAR-VAULT.  CROSS-VAULT. 
DOML-VAULT. 


2 8 


Ecclesiastical  Architecture. 


having  a continuous  wall  upon  which  the  feet  of  the 
arches  rest.  The  side-thrust  of  the  vault  is  counteracted 
by  buttressing.  The  cross-vault  (2)  is  composed  of  two 
circular-vaults,  cutting  each  other  centrally  and  at  right 
angles.  The  result  is  that  there  are  four  feet  to  this 
vault,  and  they  rest  on  four  piers  or  columns.  The 
thrust  is  concentrated  at  these  four  points,  and  here  is 


BATHS  OF  CARACAL,  TA. 


built  the  buttressing.  The  dome-vault  (j)  is  a series  of 
contracting  circles,  laid  one  upon  another  until,  at  the 
top,  a circular  disk  can  close  and  complete  the  structure. 
A circular- vault  roofs  a passage-way,  having  on  each  side 
a wall ; the  cross-vault  roofs  a square,  having  at  the  cor- 
ners piers  for  support ; the  dome-vault  roofs  a circle,  but 
the  Byzantine  architects  compelled  the  dome  to  roof  a 
square  by  means  of  arches  and  pendentives. 


Its  Inheritance . 


29 


§ Cross=Vaulting.  The  grand  hall  in  the  Baths  of 
Caracalla  (Fig.  25)  was  roofed  over  by  means  of  the 
cross-vault.  Beautiful  Corinthian  columns  marked  off 
squares  in  the  length  of  the  hall.  Since  the  pressure  of 
the  cross-vault  is  concentrated  at  four  points,  there  was 
no  need  of  a continuous  entablature  upon  these  col- 
umns ; therefore  it  was  cut  away  between  each  two  col- 
umns. The  sides  of  what  remained  were  finished  to 
correspond  with  the  front.  Here,  then,  is  a column  with 
an  entablature  of  its  own.  The  cross-vault  was  set  upon 
these  entablatured  columns,  and  its  ceiling  was  richly 
and  beautifully  ornamented.  The  transforming  hand  of 
the  Roman  is  again  visible  in  this  construction.  He  was 
the  first  to  employ  the  column-orders  in  a new  way.  The 
Greeks  used  them  to  give  support  to  the  roof;  and  they 
made  the  columns  most  beautiful,  that  they  might  be 
honored  for  their  service.  The  Romans  took  these  same 
orders  and  made  them  simply  the  external  ornaments  of 
their  edifices.  The  Greeks  required  a continuous  archi- 
trave to  sustain  their  ceilings.  The  Romans,  as  if  dis- 
daining such  suggestion,  removed  the  architrave  from 
between  columns,  and  rested  their  cross-vault  for  the 
ceiling  on  what  remained.  The  cross-vault,  as  applied 
by  the  Romans,  furnished  a most  essential  element  in 
that  wonderful  preparation  for  ecclesiastical  architecture 
which  Greece  and  Rome,  more  than  all  other  nations, 
made,  and  in  the  midst  of  which,  or  else  on  its  ruins, 

ecclesiastical  edifices  rose  in  beauty  and  splendor. 

% 

§ Dome=Vaulting.  The  Pantheon  is  the  peerless  ex- 
ample of  the  dome-vault.  Heretofore  the  dome  had 
been  used  as  a kind  of  canopy  to  cover  a small  space ; 
now,  the  Romans  employed  it  to  roof  over  a large  area. 
Rome,  after  she  conquered  the  nations,  gave  them  laws ; 
but  permitted  them  to  retain  their  national  religion. 


30 


Ecclesiastical  Architecture . 


Hence  the  Roman  empire  was  united  through  its  uni- 
form laws,  while  there  was  within  it  great  diversity  of 
religion.  It  was  a bold,  indeed,  a new  thought  to 
build  a temple  wherein  all  the  gods  of  the  empire  should 
each  have  a shrine ; yet  this  thought  inspired  the  build- 
ing of  the  Pantheon.  The  circle  (Fig.  26),  symbol  of 

divinity,  was  the 
ground-plan.  Stone- 
circle  was  laid  upon 
stone-circle,  until  the 
elevation  was  builded. 
This  cylindrical  por- 
tion was  the  tambour. 
Then  the  stone-circles 
were  decreased  in  di- 
ameter, until  the  roof- 
ing-dome was  formed. 
There  was  a beautiful 
portico  in  front,  with 
splendid  columns; 
and  from  this  portico 
there  led  an  entrance- 
way, which  was  roofed 
with  the  cylinder 
vault.  The  interior 
wall  (Fig.  27),  be- 

GROUND- PI, AN  OF  PANTHEON.  ^ ^ 

divided  into  two  stories.  The  lower  was  encircled  with 
a beautiful  lofty  colonnade,  within  which  were  niches 
for  the  statues  of  gods.  Above  was  the  second  story, 
being  a circle  of  columns,  with  niches  within.  The  dome 
above  this  was  richly  paneled  with  circles  of  diminish- 
ing squares.  Such  was  the  Roman  Pantheon,  a struc- 
ture so  new  and  beautiful,  as  well  as  daring,  that 
Michael  Angelo,  when  he  was  completing  St.  Peter’s  at 


Its  Inheritance. 


31 


Rome,  the  largest  Christian  church  in  the  world,  could 
invent  nothing  greater,  and  so  he  raised  above  the 
crossing  in  St.  Peter’s  a structure  like  the  Roman  Pan- 
theon. 

Fig.  27. 


§The  Free  Dome.  There  was  a small  temple  erected 
at  Nocera  with  most  remarkable  variations,  so  far  as 
the  support  of  the  dome  is  concerned.  Fourteen  pairs 
of  columns  were  placed  upon  the  circumference  of  a 
circle,  each  pair  with  its  own  architrave.  Row  arches 
rest  upon  these  separate  architraves,  and  upon  them 
were  laid  the  dome-circular  courses,  each  diminishing 
until  they  completed  the  dome.  Outside  of  the  dome,  yet 
resting,  like  it,  on  the  circle  of  double  columns,  there 
was  built  a hollow  cylinder  to  the  height  of  half  the 
altitude  of  the  dome.  The  dome-roof  was  supported  by 
this  cylinder.  A circular  wall  was  built  around  this 
central  structure,  and  a tunnel-vault  connected  it  with 
the  dome-arches,  which  were  above  the  double  columns. 
The  dome  is  thus  set  free  from  the  exterior  wall;  and 


32 


Ecclesiastical  Architecture. 


yet  the  tunnel-vaulting,  with  the  outer  wall,  acts  as  a 
buttress  to  the  side-thrust  of  the  dome.  It  is  a modest 
temple  (Fig.  28) ; yet  all  the  glory  of  the  Pantheon 
had  in  it  no  suggestion  comparable  in  importance  to 
that  given  to  later  architects,  when  the  builder  of  this 
crude  structure  bound  together  two  columns  with  an 
architrave,  placed  fourteen  of  them  in  q circle,  and  set 


Fig.  28. 


thereon  a free  dome.  A Roman  Bacchus  temple  (Fig. 
29)  presents  a free  dome,  to  which  is  added  a further 
and  most  significant  modification.  A hollow  cylin- 
der is  set  with  its  base  upon  the  arches,  and  the  dome, 
pierced  by  twelve  windows,  is  placed  upon  it.  There 
is,  in  consequence,  a new  and  beautiful  grace  given  to 
the  temple.  Prophet  truly,  in  the  heathen  world,  is 
this  dome,  supported  upon  columns,  of  the  coming 
of  St.  Sophia  and  St.  Peter  and  England’s  St.  Paul, 
all  of  whose  attractions  culminate  in  the  magnificent 
splendor  of  their  domes. 


Its  Inheritance . 


33 


§ Geometrical  Decoration.  Some  idea  of  the  rich 
embellishment  of  ceilings  in  classical  edifices  may  be 

Fig.  29. 


SECTION  OF  A ROMAN  BACCHUS  TEMPLE. 

obtained  from  Fig.  30.  Here  the  beautiful  pattern-work, 
formed  of  geometrical  figures,  was  very  attractive  and 

Fig.  30. 


GEOMETRICAL  PATTERNS. 


full  of  suggestion  for  later  times,  which  imitated,  but 
never  excelled,  the  originals. 


Fig.  31. 


34 


Ecclesiastical  Architecture. 


GRECIAN  DECORATIVE  ELEMENTS. 


Its  Inheritance . 


35 


§ Grouped  Decorative  Features.  Two  Doric  entab- 
latures (Fig.  31)  are  centrally  placed,  showing  the  corona 
and  the  mutules  of  the  cornice,  the  triglyplis  and  me- 
topes of  the  frieze,  with  the  supporting  columns.  The 
drops  under  the  mutules  are  the  guttse.  A strange 
modification  is  seen  in  one  of  these  Doric  entablatures. 
The  triglyph  is  ornamented  with  a bull’s  head,  and  the 
front  half  of  the  column  is  square,  being  surmounted 
with  the  busts  of  kneeling  bulls.  One  corner  column  is 
turned  so  as  to  show  the  two  sides  of  this  modified  Doric 
column.  On  the  left  are  Ionic  and  Corinthian  columns. 
The  varieties  in  the  foliation  of  the  Corinthian  capitals 
remind  one  of  the  experiments  which  the  Greeks  made 
before  they  achieved  the  symmetrical  beauty  of  the 
acanthus-leaf  capital ; for  one  of  these  capitals  is  bell- 
shaped, having  a crude  flower  with  a stem  placed  at 
intervals  around  it;  another  seems  but  a circle  of  pointed 
leaves  bound  about  the  capital ; while  a third  exhibits 
the  rich  beauty  of  the  perfected  Corinthian  capital.  On 
the  left  is  seen  also  the  caryatid,  a female  form,  support- 
ing an  entablature.  Such  a column  would  be  grotesque 
if  the  beauty  of  the  figure  did  not  hide  its  absurdity. 
Greek  altars  are  arranged  at  the  right,  and  a square 
column,  whose  front  is  adorned  with  the  human  figure. 
Here  also,  upon  another  square  column,  are  to  be 
found  the  moldings,  known  as  the  ovolo ; above  it, 
the  cyma  reversa ; and  above  this,  the  cyma  recta. 
These,  and  many  other  forms,  became  familiar  to  the 
early  Christians,  who  employed  them  to  give  the  charm 
of  ornament  to  their  churches. 

§ Decorative  Arcade.  A fragment  of  an  arcade, 
taken  from  the  palace  of  Diocletian  at  Spalatro,  is  most 
important.  It  was  part  of  the  entrance-facade.  Alter- 
nate arches  held  niches  for  statues  of  men  or  of  gods. 


36 


Ecclesiastical  Architeci  ure. 


Fig.  32 


DECORATIVE  ARCADE. 


Two  important  suggestions  are  connected  with  this  frag- 
ment (Fig.  32)  ; namely,  that  the  arcade  made  a most 
graceful  mural  embellishment,  and  that  within  its  arches 
might  be  placed  statues  of  saints  and  apostles. 


Fig.  33. 


§ Decorative  Foliage.  Nature  gave  great  and  beau- 
tiful forms  in  its  vines  and  leaves.  Nor  were  the  an- 


Its  Inheritance. 


37 


cient  artists  unmindful  of  her  innumerable  suggestions 
through  the  plant-world.  An  ancient  cornice  ornamen- 
tation (Fig.  33)  exhibits  leaves  artistically  united  to- 
gether, obliterating  all  natural  lines ; yet  there  are  hints 
of  nature  in  the  design.  The  leaf-receptacle  is  present, 


Fig.  34. 


and  also  the  leaf-lobes  and  clefts.  It  is  an  artistic  form, 
and  in  no  sense  imitative. 

A similar  artistic  treatment  of  the  acanthus-plant  is 
seen  in  Fig.  34.  It  is  as  if  the  outlines  of  a shadow  of 
the  plant  had  been  copied  by  the  sculptor  and  placed  in 
the  molding  of  a cornice.  There  is  a chaste  beauty  in 
this  mode  of  ornamentation  which  imitative  forms  lack? 
and  it  appealed  strongly  to  the  Greek. 


33 


Ecclesiastical  Architecture. 


Fig.  35. 


VINE-FOLIAGE. 


Otherwise  is  the  foliage  in  Fig.  35.  The  vine-stem 
runs  along  the  surface.  Bracts,  leaves,  tendrils,  clusters, 
all  shoot  forth  from  the  vine.  There  is  masterful  imita- 


LEaf  and  bead  decoration. 


Its  Inheritance . 


39 


tion  here.  The  maker  takes  from  nature  his  forms,  but 
he  bends  them  as  he  will,  in  order  to  make  the  vine 
grace  the  surface  of  the  frieze.  In  another  ornament 
(Fig.  36),  the  leaves  are  plucked  and  arranged  to  suit 
the  artist’s  taste.  Or  the  oak-leaf  and  the  acorn  (Fig. 
37)  are  arranged  in  circles,  and  bound  fast  together  by 
a spiral’  band. 

Fig.  37. 


DEAF  AND  ACORN  DECORATION. 

Of  boundless  fertility  were  these  Roman  architects 
and  sculptors,  and  their  hands  built  with  marvelous 
beauty  their  inventions.  Stone  seemed  like  clay  in  their 
hands,  to  be  moulded  into  leaf  or  flower  at  their  will. 
Stone  Seemed,  in  their  view,  to  have  lost  its  weight ; for 
they  raised  story  above  story  in  their  buildings,  and 
gave  the  appearance  of  great  solidity  to  the  upper  parts. 
A walk  among  the  ruins  of  their  forum,  or  through  the 
halls  of  their  public  baths,  or  in  the  great  circular  area 
of  the  Coliseum,  is  sure  to  awaken  in  any  intelligent 
observer  ever-increasing  wonder  and  admiration  for 
them. 


40 


Ecclesiastical  Architecture. 


Fig.  38. 


ANCIENT  ROMAN  FRIEZE- 


Its  Inheritance . 


41 


An  ancient  Roman  frieze  (Fig.  38)  will  illustrate 
most  suggestively  the  wonderful  inheritance  which 
was  left  to  ecclesiastical  architecture.  The  cornice, 
with  its  crown-molding,  modillions,  ovolo,  dentiles,  all 
richly  ornamented;  the  frieze,  with  its  ornamented 
border,  and  its  broad  face  replete  with  the  grace  of 
symbolic  female  forms ; the  architrave,  with  its  borders 
upon  the  facise;  the  column,  with  its  wonderful  capital, — 
all  were  combined  in  rich  harmony,  and  made  the  build- 
ing resplendent  with  all  these  marvels  of  art.  The 
Christian  architect  despised  none  of  these  achievements 
of  pagan  Greece  and  Rome ; and,  after  centuries  of  ef- 
fort, he  produced  cathedrals  which,  for  daring  of  con- 
struction and  sublime  effects,  for  beauty  of  ornament 
and  symmetry  of  form,  excel  all  edifices  which  the  hand 
of  man,  in  any  age,  has  ever  fashioned. 


Chapter  IL 

BASILICAN  STYLE— EARLY  CHRISTIAN  ARCHI- 
TECTURE* 

§ Method  of  Study.  Some  general  statements  rela- 
tive to  ecclesiastical  architecture  as  treated  in  Part  First 
should  be  given.  It  is  our  purpose  to  study  the  type 
of  the  church-edifices ; also  to  notice  modifications  of 
this  type  when  they  were  anticipatory  of  nobler  devel- 
opments in  later  times.  The  great  life  of  the  Church, 
as  it  assumes  new  liturgical  forms  in  order  to  give 
elaborate  expression  to  its  abounding  fullness,  will  not 
come  here  in  review;  nor  will  it  receive  any  mention 
except  where  it  can  not  be  avoided.  Simply  the  study 
of  structure  is  the  aim  of  this  division.  Of  course,  the 
simplest  form  will  come  first  under  consideration.  The 
actuating  power,  which  first  determined  the  form,  will 
be  sought.  As  we  pass  from  century  to  century,  there 
will  appear  new  forces,  which  unite  and  form  modifica- 
tions of  the  first  type,  culminating  finally  in  the  gorgeous 
splendors  of  the  Romanesque  church,  or  in  the  per- 
fected beauty  of  the  Gothic  cathedral. 

§ Controversy  Avoided.  The  settlement  of  ques- 
tions is  in  nowise  undertaken.  Whole  books  have  been 
written  upon  such  themes  as,  that  the  Christian  basilica 
is  but  a transformation  of  the  Roman  basilica ; that  the 
Gothic  arch,  or  pointed  arch,  was  no  invention  of  Eu- 
rope ; that  the  noble  vistas  of  Germanic  forests  were  not 
the  impelling  suggestions  which  resulted  in  the  Gothic 
nave ; that  the  term  Gothic  is  a misnomer  for  the  archi- 
42 


Basilican  Style. 


43 


tecture  which  it  characterizes.  These  are  all  interest- 
ing questions,  but  no  answer  to  them  is  to  be  sought  in 
these  pages.  Yet  this  we  do  say,  that  earliest  Christian 
history  affirms  that  Christians  called  their  churches 
basilicas,  because  in  them  they  worshiped  God  their 
King.  This  statement  we  count  more  authoritative 
than  inapt  and  inconsequent  analogies  which  have  been 
drawn  between  the  Christian  and  Roman  basilicas. 
Also,  when  the  daring  Christian  spirit  of  Western  Eu- 
rope seized  the  pointed  arch,  and  wrought  undreamed 
effects  through  stone,  we  are  sure  that  the  Italians,  in 
reproach,  called  the  architecture  Gothic ; for  it  com- 
pletely abandoned  , the  classic  models,  and  what  was  not 
in  harmony  with  these,  to  the  Latin  mind,  was  barba- 
rous; hence,  Italy  called  the  new  architecture  Gothic, 
or  barbarous.  And,  finally,  with  truth  it  may  be  as- 
serted that  there  is  nothing  on  earth  which  so  resem- 
bles the  majestic  grandeur  and  form  of  the  Gothic 
naves  as  those  marvelous  forest-ways  where  mighty 
trees,  with  their  branches,  arch  the  path  high  overhead. 

§ First  Assemblies.  Christians  at  first  held  assem- 
blies (ecclesise)  in  private  houses,  in  the  lower  or  upper 
rooms.  Those  of  Jerusalem  went  often  to  the  temple, 
and  in  the  shade  of  its  porches  held  public  conversa- 
tion ; or,  when  they  were  at  a distance  from  the  Holy 
City,  they  entered  the  Jewish  synagogue,  and  became 
public  expositors,  by  invitation,  of  the  law  and  the 
prophets.  In  the  second  and  third  centuries,  Christians 
suffered  great  antagonism,  from  the  Jews  first,  and  after- 
ward from  the  Romans.  Still,  they  assembled  in  private 
houses  when  this  was  safe,  or  else  in  caves  and  cata- 
combs. The  great  apologists  were  wont  to  say  that 
Christians  had  neither  “temples  nor  altars.”  Prior, 
then,  to  the  time  of  Constantine,  whatever  Christian 


44 


Ecclesiastical  Architecture. 


edifices  might  have  existed  were  swept  away  in  the  fury 
of  the  persecutions. 

§ Ark  and  Basilica  Types.  It  was  customary  for 
Christians  of  the  second  and  third  centuries  to  speak  of 
the  church  as  the  ark,  and  Christian  symbolism  by  this 
figure  represented  the  church.  Truly,  in  those  days, 
she  sailed  on  troubled  waters.  So  mightily  was  this 
figure  of  the  ship  impressed  on  Christian  thought  that 
in  after  times  the  body  of  the  Christian  church  was 
called  the  nave,  or  ship.  There  is  a remarkable  relief 
(Fig.  39)  which  belongs  to  the  first  days  after  Constan- 
tine had  made  Christianity  the  religion  of  the  empire. 
It  is  crude  as  sculpture,  almost  grotesque ; however,  it  is 
a graphic  presentation  of  a scene  illustrating  the  tri- 
umph of  the  cross.  In  the  right-hand  corner  is  a Chris- 
tian church  in  process  of  building.  The  nave  is  com- 
plete. On  the  sides  are  the  shed-roofs  over  the  aisles 
for  the  catechumens ; the  semi-circular  apses  around  the 
senatorium  and  the  matroneum  for  the  imperial  family 
and  nobility.  The  gables  of  the  building  are  sur- 
mounted with  the  Greek  cross.  The  eastern  end  alone 
is  incomplete.  The  presbyterium  for  the  clergy  is  want- 
ing. The  chariot  on  the  left,  guided  by  the  emperor,  is 
bringing  this  new  tribune,  containing  the  ark-altar,  sym- 
bol of  the  church.  Two  bishops  are  holding  the  sacred 
sign.  The  triumphal  arch  is  seen  before  the  tribune. 
The  metropolitan  bishop,  holding  the  great  cross,  wel- 
comes the  royal  comer.  The  scene  is  so  amazing  that 
the  martyred  dead  rise  from  their  graves  to  behold. 
The  relief  is  truly  remarkable.  It  makes  clear,  at  least, 
that  the  basilica  of  Constantine  was  composed  of  the 
nave  for  believers ; the  side  naves  for  catechumens ; and 
the  triumphal  arch,  within  which  were  the  tribunes  for  the 
royal  family  and  nobles,  and  the  tribune  for  the  presbytery. 


TRIUMPH  OF  THE  CHURCH. 


Basilican  Style. 


45 


Fig.  39 


46 


Ecclesiastical  Architecture. 


Fgi.  40. 


§ Ground-plan  of  the  Basilica.  The  ark-church 
was  an  oblong  building,  containing  a long  room,  which 
was  called  the  nave,  and  a semi-circular  termination, 
called  the  tribune.  The  basilica  was  simply  the  ark- 
church  with  side  naves,  having  the  eastern  portion  of 
the  whole  church  cut  off  for  the  ecclesiastical  and  civil 
authorities.  A typical  example  of  the 
basilica  is  found  in  the  Church  of  St. 
Clement  at  Rome  (Fig.  40),  which 
was  built  in  872,  and  when  destroyed 
in  the  twelfth  century,  was  rebuilt 
according  to  its  original  plans.  Two 
rows  of  columns  extend  lengthwise 
of  the  building,  dividing  it  into  the 
middle  nave  (a)  and  the  two  side 
naves  ( b , c).  At  the  extremities  of 
each  colonnade  are  strong  pillars. 
And  this  basilica,  in  common  with 
some  others,  has,  midway  in  each  row 
of  columns,  another  and  more  mas- 
sive pier.  Extending  from  the  cen- 
ter of  the  middle  nave  to  the  screen 
before  the  raised  platform  of  the  altar- 
tribune,  was  a choir  ( d ) for  the  lower 
clergy,  and  this  was  surrounded  by  a 
marble  barrier.  A marble  pulpit 
was  built  on  each  side  of  the  choir, 
from  one  of  which  was  read  the  Gospels,  and  from 
the  other  the  Epistles.  These  pulpits  were  called  am- 
bones.  The  whole  space,  shut  off  by  the  screen,  was 
the  sanctuary.  In  front,  under  the  triumphal  arch  (/), 
.stood  the  altar;  and  behind  it,  in  the  apse,  and  arranged 
in  a semi-circle,  were  the  presbyters;  hence  it  was  called 
the  presbyterium.  In  the  midst  of  these  the  bishop  sat 
in  his  cathedra.  A space  at  the  left  of  the  sanctuary  (k) 


PLAN  OF  ST.  CLE- 
MENT, AT  ROME. 


Basilican  Style. 


47 


was  for  men  of  high  rank,  and  was  named  the  seriato- 
rium;  while  a similar  space  (/)  on  the  right  was  for 
women  of  rank,  and  was  called  matroneum.  The  left 
half  of  the  nave  was  for  men,  and  the  right  for  women. 
The  large  hall  before  the  nave  in)  is  the  atrium,  where 
penitents  remained  who  had  no  right  to  enter  the 
church.  The  cantharus  stood  central  in  the  atrium, 
and  here  worshipers  washed  their  hands  before  entering 
the  church,  in  token  of  inner  purification.  The  plan 
shows  the  usual  arrangement  for  the  disposition  of  the 
worshipers  in  the  Constantine  basilicas. 

§The  Triumphal  Arch.  The  appropriate  archi- 
tectural separation  of  nave  and  side  naves  and  tribune, 
and  the  inclosure  of  this  ground-plan  with  walls  and  roof, 
constituted  the  problem  before  the  early  Christians.  Its 
answer  at  once  gave  to  architecture  a distinct  type,  to 
which  there  can  be  found  no  analogy  in  the  edifices  of 
Greece  and  Rome.  Most  fitting  was  it  that  the  religion 
which  overcame  the  strongholds  of  paganism  by  its 
beauty  of  creed  and  character  and  its  enduring  power, 
should  develop,  early  in  its  career,  an  architecture  in 
strongest  contrast  with  the  noble  temples  of  the  ancient 
religions,  and  yet  which,  when  perfected,  should  excel 
all  temple-structures  ever  erected  by  the  genius  of  man 
for  worship.  The  Senate  and  the  Roman  people  dedi- 
cated an  arch  to  Constantine,  commemorating  his  vic- 
tory over  Maxentius,  in  31 1 A.  D.  The  arch  was 
a far  more  imposing  form  than  that  of  Titus;  for, 
instead  of  one,  it  had  three  archways,  a high  central 
passage,  and  a lower  one  on  each  side.  The  orna^ 
mentation  is  mainly  taken  from  the  Arch  of  Trajan, 
which  stood  at  the  entrance  to  Trajan’s  Forum.  This 
was  the  type  for  the  triumphal  arch  which  was  placed 
in  the  early  Christian  basilicas.  The  triumphal  arch, 


48 


Ecclesiastical  Architecture. 


patterned  after  that  of  Constantine  (Fig.  41),  was  placed 
over  the  altar ; the  authorities  of  the  Church  sat  in  the 
presbyterium  behind  the  altar;  the  authorities  of  the 
State  sat  on  each  side  of  the  altar  within  the  arch.  The 
sanctuary  was  the  altar  and  presbyterium,  and  it  was 


Fig.  41. 


ARCH  OF  CONSTANTINE. 


separated  from  the  nave  of  the  church  by  a screen. 
The  side-naves  were  separated  from  the  nave  by  rows 
of  beautiful  columns,  carrying  a splendid  architrave,  or 
a graceful  series  of  arches,  and  terminated  at  the  tri- 
umphal arch.  They  were  separated  from  the  senatorium 
and  matroneum  by  the  side  archways  of  the  triumphal 
arch. 


Basilican  Style. 


49 


§ Elevation  of  the  Basilica.  The  ground-plan  (Tig. 
42)  is  that  of  a five-aisled  basilica.  The  nave  and  the 
two  double  side-naves  are 
separated  by  means  of  four 
colonnades.  A triumphal 
arch  of  the  Constantine 
type  is  placed  over  the  al- 
tar, and  at  this  arch  the 
rows  of  columns  termi- 
nate. Hence,  standing 
within  the  colonnades,  the 
eye  sees  at  the  sanctuary 
the  front  of  a lofty,  beau- 
tiful arch,  while  the  arch 
over  the  side-nave  is  lower 
and  not  so  imposing. 

Ampler  accommodation 
for  the  increased  number 
of  catechumens  in  the  cit- 
ies, immediately  after  im- 
perial favor  was  given  to 
the  Church,  accounts  for 
these  double-aisled  basil- 
icas. The  elevation  of 

basilicas  and  their  roofing  PI<AN  st.  pauivs  beyond 
. . , ■ . , THE  WADES. 

were  accomplished  m the 

following  way.  There  was  placed  upon  the  nave-col- 
umns either  an  architrave  or  a series  of  low  arches. 
A wall  was  then  built  upon  the  colonnade  to  a con- 
siderable height.  The  upper  part  of  the  wall  was  per- 
forated with  windows.  From  the  side-wall  to  the  nave- 
wall,  and  so  over  the  side-naves,  a shed-roof  was  built, 
leaving  the  upper  part  of  the  nave-wall  as  a clerestory. 
Beams  were  placed  upon  these  walls,  and  a gable-roof 
constructed  above  the  nave.  Thus  an  entirely  new  type 

4 


50  Ecclesiastical  Architecture. 

of  building  was  created  (Fig.43).  It  was  also  new  to 
spring  the  arch  directly  from  the  capital  of  the  column, 
not  intervening,  as  in  the  Baths  of  Caracalla,  a diminu- 
tive architrave  for  each  column.  This  innovation  had 
great  import  for  the  later  styles  of  Christian  architecture. 


Fig.  43. 


ELEVATION  OF  ST.  PAUL’S  BEYOND  THE  WALLS. 


§ Contrast  of  Exteriors.  Paganism  and  Christianity 
stood  from  the  first  in  boldest  opposition.  They  viewed 
differently  the  relation  of  God  to  man,  of  man  to  his 
fellow.  They  regarded  character  in  man  from  a differ- 
ent standpoint.  God,  in  the  Christian  view,  co-operated 
with  man  to  form  character.  Christians,  when  they  be- 
gan to  build  churches,  emphasized  this  opposition.  The 
ark-church,  the  earliest  type,  may  be  obtained  if  we  re- 
move from  the  Grecian  temples  (Fig.  44)  the  beautiful 
colonnades  around  them,  leaving  simply  the  unadorned 
walls  and  the  gable-roof.  Pierce  these  walls  with  win- 
dows, and  there  results  the  general  form  of  the  earliest 


GRECIAN  TEMPLES. 


Basilican  Style. 


5-i 


Fig.  44. 


52 


Ecclesiastical  Architecture. 


church.  The  basilica-type  is  obtained  by  interchanging 
the  places  of  the  walls  and  columns,  making  the  colon- 
nades beautify  the  interior;  then  by  building  on  the 
architrave  of  the  colonnade  an  attic-story,  piercing  its 
walls  with  windows,  and  placing  above  the  gable-roof ; 
afterward,  by  building  from  the  side-walls,  shed-roofs  to 
this  central  structure.  At  first,  and  always,  the  Grecian 
temple  was  beautiful  without ; while,  in  the  beginning, 
the  Christian  church  was  beautiful  only  within.  The 
abode  of  the  Grecian  and  Roman  divinity  was  in  dark- 
ness; hence  his  shrine  was  dark,  and  around  it,  but 
without,  clustered  the  columned  splendors.  God,  with 
the  Christian,  dwelt  in  the  light ; hence,  windows  let 
the  day  into  his  holy  place,  and  Christians  entered  to 
commune  with  him.  The  interior  of  the  church,  there- 
fore, was  illuminated  by  all  the  beauty  of  art  which 
the  hand  of  man  could  fashion. 

§The  Nave  Decoration.  Christian  architecture  of 
later  times  will  show  how  this  basilica,  a new  type 
among  structures,  received  a development  which  creates 
amazement  in  every  beholder,  because  of  its  marvelous 
variety  and  beauty.  And  indeed,  from  the  first,  the  in- 
terior of  the  basilica  was  made  most  impressive  through 
its  royal  splendors.  Its  nave  was  the  highway  of  the 
Lord,  leading  to  his  sanctuary.  In  structure,  the  nave 
was  an  inclosed  pathway,  having  columns  on  the  sides, 
supporting  walls  upon  which  rested  the  ceiling-beams 
and  the  roof-rafters.  The  Greeks  had  used  columns  to 
support  the  entablature;  the  Romans  to  decorate  their 
structures;  the  Christians  used  them  to  sustain  the  walls 
of  the  nave.  They  made  either  a colonnade,  having  col- 
umns and  architrave,  or  an  arcade,  having  columns  and 
arches,  upon  which  to  build  the  nave-wall.  The  interior 
of  the  ancient  basilica  of  St.  Peter’s  (Fig.  45)  will  illus- 


INTERIOR  OF  ANCIENT  ST.  PETER’S. 


Basilican  Style. 


53 


54 


Ecclesiastical  Architecture. 


trate  the  mode  of  decoration ; for,  although  fire  de- 
stroyed the  church  in  1823,  it  has  been  restored  accord- 
ing to  the  ancient  plan,  and  beautified  after  the  ancient 
manner.  Beautiful  Corinthian  columns  sustain  the 
arches  of  the  arcade.  The  archivolts  are  adorned  with 
geometrical  figures;  the  spandrels  by  vine-like  forms. 
The  wall,  set  upon  these  columns,  had  great  import  for  the 
basilica.  Its  upper  portion  was  pierced  with  windows 
having  semicircular  heads ; and  below  these  windows,  the 
lighted,  unbroken  space  of  the  wall  allured  the  artist,  who 
wrought  his  pictures  there  either  with  the  colored  cubes 
of  a mosaic,  or  with  brush  and  brilliant  colors.  The 
wall  was  paneled,  each  panel  being  marked  off  by  beau- 
tiful half-columns,  and  within  were  represented  Scrip- 
ture scenes.  The  spaces  between  the  windows  of  the 
clerestory,  were  filled  with  life-size  representations  of 
martyrs  and  saints.  The  ceiling  above  the  middle  nave  is 
divided  by  decorated  squares.  All  this  imperial  splendor 
of  the  nave  faded  not  when  brought  into  comparison 
with  the  glory  of  the  colonnades  belonging  to  Grecian 
and  Roman  temples.  In  the  earliest  basilicas  some- 
times a richly-sculptured  architrave  was  borrowed  per- 
manently from  some  pagan  temple,  together  with  the 
supporting  columns.  In  consequence,  there  were  found 
in  some  early  basilicas  strange  incongruities,  such  as 
columns  and  architrave  of  the  most  classical  forms, 
adorned  with  Rome’s  lavishly-rich  ornaments,  and  a wall 
above  them  figured  by  the  rude  attempts  of  Christian 
artists  to  portray  Gospel  narratives.  Christian  art  was 
just  unfolding  itself.  It  then  was  in  the  bud;  the  full 
blossoming  came  in  after  centuries. 

§ Decoration  of  the  Sanctuary.  The  altar  was  be- 
neath the  triumphal-arch  and  above  the  crypt,  wherein 
was  a martyr’s  grave.  There  were  three  mighty  thoughts 


Basilican  Style . 


55 


connected  with  the  sanctuary  in  the  age  of  Constantine : 
here  stood  the  altar-table,  symbol  of  the  faith ; beneath 

Fig.  46. 


SANCTUARY  OF  ST.  PAUD’S  BEYOND  THE  WADES. 


it  was  the  tomb  of  martyrs,  witnesses  unto  death  for  the 
faith ; around  it,  in  the  apse,  were  the  clergy,  living  her- 
alds of  the  faith, — therefore  the  splendor  of  the  edifice 
shone  most  brilliantly  at  the  sanctuary.  The  arch  of 
the  sanctuary  in  St.  Paul’s  (Fig.  46),  beyond  the  walls 


56  Ecclesiastical  Architecture. 

at  Rome  belongs  to  the  fifth  century.  It  is  rich  in 
mosaic  decorations.  Christ,  receiving  the  adoration  of 
the  four  and  twenty  elders,  is  represented  above  the 
crown  of  the  arch,  and  above  these  the  symbols  of  the 
Four  Gospels.  The  Apostle  Paul  is  seen  below  and  on 
the  left,  while  below  and  on  the  right  is  the  Disciple 
Peter.  The  forms  of  disciples  and  apostles  are  wrought 
in  brilliant  mosaics  upon  the  half-dome  of  the  tribune. 
The  background  was  blue  or  gold,  and  the  figures  were 
imposing  in  size,  and  clad  in  simple  flowing  drapery, 
all  combining  to  produce  in  the  worshiper  and  the  ob- 
server a reverent  awe  for  that  religious  faith  which  sur- 
rounded its  Divine  Author  with  the  blue  of  the  heavens, 
and  its  prophets  and  apostles  with  golden  glory,  such  as 
the  departing  sun  throws  back  upon  the  evening  sky. 

§The  Crypt.  Until  the  eleventh  century  most  basil- 
icas had  crypts  under  the  altar  of  the  sanctuary ; for  the 
place  of  a martyr’s  grave  was  the  site,  usually,  of  a basil- 
ica. A polygonal  room  was  built  about  these  sacred 
places,  and  a cross-vault  was  placed  above.  Over  this 
room  the  sanctuary  of  the  basilica  was  erected.  Often- 
times a crypt  was  a subterranean  church,  where  Chris- 
tians gathered  for  solemn  worship.  When  the  memories 
of  martyrs  were  fresh  in  the  Christian  mind,  there  was 
peculiar  impressiveness  in  the  services  around  the  tomb 
of  the  martyr  beneath  the  altar  of  a splendid  basilica. 
The  crypt,  built  beneath  the  altar,  often  raised  the  altar- 
level  above  the  floor  of  the  nave.  A beautiful  stairway 
in  the  nave  then  led  up  to  the  altar.  The  vaulting 
over  the  crypt  was  the  first  cross-vaulting  used  in  the 
Christian  church.  It  was  later  raised  above-ground,  and 
made  to  roof  the  aisles  and  nave. 

§ Symbolism  of  the  Catacombs.  The  rich  mural 
and  apsidal  decorations  of  the  basilica,  which  began  to 


Basilican  Style . 


57 


be  employed  in  the  time  of  Constantine,  naturally  di- 
rects our  attention  to  Christian  symbolism.  Little  did 
the  early  Christians  imagine  that  the  rude  signs  graven 
in  the  catacombs  were  forerunners  of  the  unrivaled 
beauty  of  Christian  art.  At  first,  a simple  cross  told  the 
whole  story;  later  a monogram  was  added,  containing 
Chi  (X)  and  Rho  (*/*),  the  two  first  Greek  letters  in  the 
name  of  Christ.  This  combined  symbol  gave  fuller  ex- 
pression to  the  thought  of  the  cross  of  Christ.  The 
form  of  a fish  was  also  sculptured  on  these  graves— the 
shape  had  no  significance ; however,  it  represented  the 
earlist  Christian  creed.  The  Grecian  word  for  fish,  ich- 
thus  (’«/#&?),  contained  the  symbols.  The  first  letter 
i («),  suggested  Jesus;  the  second,  ch  (/),  Christ;  the 
third,  th  (#),  God’s;  the  fourth,  u (5),  Son;  the  final 
letter,  ^ (c),  Savior.  This  simple  creed  is,  “Jesus  Christ, 
God’s  Son,  Savior.”  The  olive-leaf  was  emblem  of 
promise;  the  palm-leaf  a victor’s  crown.  Noah’s  his- 
tory, connected  with  the  dove,  gave  the  olive-leaf  symbol, 
which  referred  to  the  promise  of  the  Holy  Spirit;  the 
entry  of  Christ  into  Jerusalem  gave  the  palm-leaf  sym- 
bol, and  its  meaning  was,  that  they  who  followed  him, 
for  the  truth’s  sake,  to  martyrdom,  would  wear  on  the 
brow  the  wreath  of  a conqueror. 

§ Symbolism  of  Basilicas.  When  symbols  became 
used  as  instructors  of  the  congregation  concerning  the 
hopes  and  the  fiery  trials  of  the  saints,  they  were  placed 
by  the  artists  upon  the  walls  of  the  basilicas,  even  upon 
the  dresses  of  women,  and  also  upon  the  tombs  of  the 
rich.  Then  they  became  more  picturesque.  The  dove, 
with  the  olive-leaf,  represented  the  Holy  Spirit;  and 
the  Savior  was  represented  as  a lamb,  haloed  with  light 
and  bearing  a cross.  Sometimes  the  Savior  was  symbol- 
ized by  a lion’s  head,  or  by  a vine  whereon  were  branches 


58 


Ecclesiastical  Architecture . 


laden  with  clusters  of  grapes.  Simple  reminders  were  all 
of  these,  respectively,  of  the  crucifixion;  of  the  inimi- 
table parables  of  the  Good  Shepherd  and  of  the  True 
Vine;  also,  of  the  Lion  of  Judah,  heralded  by  Messianic 
prophecy.  And  at  this  time,  symbols  became  epit- 
omized history,  not  alone  of  events  but  also  of  faiths 
and  hopes.  The  Gospels  were  represented  by  the  angel, 
the  lion,  the  bull,  and  the  eagle;  the  resurrection  by  the 
phoenix,  and  Christian  watchfulness  by  the  cock.  Chris- 
tian experience  gave  a rich  development  within  the 
realm  of  symbols.  The  anchor  was  emblem  of  a Chris- 
tian’s hope;  the  lyre  of  his  joy;  his  struggles  were  de- 
clared by  the  ark.  Now  single  objects  as  these  might 
adorn  rings,  or  might  become  most  suggestive  when 
carved  upon  tombs ; but  the  larger  spaces  of  the  basilica- 
walls  demanded  more  imposing  representations.  Then, 
Old  Testament  histories  were  reduced  to  symbols.  The 
Holy  Spirit’s  help  was  symbolized  by  Noah  in  the  ark, 
with  outstretched  hand  to  receive  the  olive-leaf;  the  trials 
of  the  Christian,  by  Daniel  in  the  lion’s-den,  by  the  He- 
brew children  in  the  fiery  furnace;  the  Divine  assist- 
ance, by  the  passage  of  the  Red  Sea,  by  Moses  smiting 
the  rock,  or  receiving  the  tables  of  stone  from  the  Al- 
mighty. Thus  the  tragic  moments  of  Old  Testament 
history  became  symbols  of  the  faiths,  hopes,  and  expe- 
riences of  the  Christian  Church. 

§ Historic  Painting.  A further  advance  was  taken 
in  Christian  art  when  artists  adorned  the  basilicas  with 
scenes  from  the  Gospel  history.  Thus  the  congrega- 
tion read,  through  pictured-walls,  the  incidents  of  the 
marvelous  life  of  Christ,  and  with  these  incidents  were 
often  connected  the  profound  truths  which  the  Master 
spake.  Crude,  indeed,  were  the  efforts  too  often;  but 
the  subjects  were  of  so  great  moment  that,  in  after  ages, 


Basilican  Style. 


59 


) 


they  awoke  all  the  powers  of  a painter’s  genius,  and  gave 
to  us  the  masterpieces  of  Christian  art. 

§ Baptisteries.  Christianity  emerged  from  the  per- 
secutions clad  with  the  whole  armor  of  God.  The  lives 
of  the  followers  of  Christ  in  those  dark  days  had  won 
encomiums  from  the  noblest  of  the  Romans.  When 
victory  smiled  upon  this  army,  the  fickle  multitudes 
thronged  to  the  churches  for  entrance;  but  the  door 
was  opened  only  after  a probation,  during  which  they 
were  instructed  in  the  gospel.  At  its  close  they  were 


Fig.  47. 


GROUND  PLANS  OF  BAPTISTERIES. 


baptized ; then  they  might  enter  the  house  of  the  King. 
Hence  arose  the  custom  of  building  small  baptisteries 
near  the  cathedral-church.  They  were  a distinct  type 
of  building  from  the  basilica.  The  ground-plan  was 
circular,  or  else  one  of  the  regular  polygons.  Such 
buildings  Rome  had  reared  in  the  Pantheon,  and  Greece 
in  her  Odeon  and  the  Temple  of  the  Winds.  The  bap- 
tistery, in  its  variations  of  plan,  may  be  seen  in  Fig.  47. 
The  baptismal-pool  was  placed  in  the  center.  Many  of 
these  structures  had  remarkable  attractiveness.  The 
baptistery  of  the  Tateran  at  Rome  still  shows  the 
ancient  character  of  these  buildings.  The  font  is  in 
the  center  of  the  octagonal  structure,  and  is  made  of 
green  basalt.  Around  it,  forming  an  octagon,  are  eight 
large  columns  of  porphyry,  with  an  ancient  architrave 


6o 


ECCLESI ASTI  CAL  ARCHITECTURE . 


of  marble.  It  is  said  that  Constantine  presented  these 
columns.  This  baptistery  (Fig.  48)  was  long  the  only 


Fig.  48. 


one  in  Rome  and  became  the 
model  for  later  ones.  Sep- 
ulcher-chapels had  the  same 
general  form  as  the  baptister- 
ies. In  later  times  all  these 
chapels  fell  into  disuse.  Bap- 
tism was  performed  in  the 
church ; and  the  church  also, 
either  in  its  crypt  or  else  in  its 
side-chapels,  furnished  sacred 
resting-places  for  the  honored 
dead. 


§Other  Basilica  Types. 

The  Constantine  basilica  was 
displaced  in  the  East  by  the 
Justinian  basilica,  but  in  the 
West  it  was  perpetuated  as 
the  Latin  basilica ; and  out  of 
the  Latin  basilica,  in  the  elev 
enth  century  and  afterwards, 
there  was  developed  the  mag- 
nificent cathedrals  of  the  Romanesque  and  Gothic  peri- 
ods. The  Greek  and  the  Latin  types  of  basilicas  differed 
especially  through  the  essentially  opposite  modes  em- 
ployed for  the  roofing  of  the  naves.  The  Latin  basilica 
had  a ceiling  either  horizontal  or  slanting,  while  the 
Greek  basilica  had  a vaulted-ceiling.  It  is  to  be  re- 
membered that  in  the  Roman  Pantheon  the  vaulted- 
roof  was  employed;  but  the  bewitching  beauty  of  the 
interior  of  St.  Sophia,  with  its  domes  and  half-domes 
overhead,  found  in  the  mighty  Pantheon  only  a distant 


BAPTISTERY  OF  THE 
EATERAN. 


kinship. 


Basilican  Style. 


6 1 


§St.  Apollinare  at  Classe.  In  540  A.  D.,  the  ex- 
arch, who  ruled  the  Greek  States  in  Italy,  had  his  resi- 
dence at  Ravenna.  The  political  importance  then  of 
this  city  was  only  second  to  Rome.  Classe  was  its  har- 
bor, and  here  we  find  an  architecture,  like  that  of  Ra- 
venna, with  modifications  of  the  basilica  which  had  far- 


Fig.  49. 


reaching  consequences.  St.  Apollinare  in  Classe  (Fig. 
49)  presents  most  of  these  changes.  The  porch  be- 
fore the  west  front,  called  the  ardica,  is  a crude  ad- 
dition ; but  it  was  developed,  in  the  later  styles  of  Oc- 
cidental architecture,  into  those  beautiful  entrances  which 
adorn  the  western  wall  of  many  European  cathedrals. 
Greater  strength,  as  well  as  beauty,  was  secured  for  the 
walls  supporting  the  roofs  of  the  central  and  side  naves, 
by  giving  them  more  thickness  through  arcade  decora- 
tion upon  the  outside.  The  Cathedral  of  Pisa  exhibits 
a most  artistic  expression  of  the  employment  of  pilas- 


62 


Ecclesiastical  Architecture. 


ters  for  the  division  and  strengthening  of  the  external 
face  of  its  walls,  and  the  beautiful  buttresses  of  Gothic 
architecture  are  but  the  wisest  application  of  this  sug- 
gestion, which  the  walls  of  the  Church  of  St.  Apollinare 
gave  to  architects.  Further,  the  ardica,  or  porch,  ex- 
ternal to  the  front  wall,  was  carried  out  to  its  perfection 
when,  at  Venice,  the  Cathedral  of  St.  Mark  obtained 
one  of  its  chiefest  splendors  by  the  magnificent  porch- 
arcades  in  front  of  its  western  entrance. 

§The  Campanile.  The  round  tower  standing  at  the 
east  end  of  St.  Apollinare  is  of  the  utmost  significance. 
Cater  times  united  it  to  the  church,  and  gave  to  eccle- 
siastical architecture  its  beautiful  strong  towers,  and  the 
opportunity  to  build  thereon  its  graceful  spires,  which 
threaten  to  touch  the  skies.  There  is  much  discussion 
about  the  earliest  use  of  these  towers,  which  are  found 
near  to  the  earliest  basilicas.  They  were  at  first  simply 
watch-towers,  whence  the  watchmen  looked  for  advanc- 
ing foes  who  might  threaten  the  city.  Afterwards  they 
became  campaniles,  where  the  bells  were  hung  and  the 
clocks  were  placed;  and  from  their  height  over  the  city 
the  hours  of  the  day  and  night  were  told,  or  else  the 
merry  peals  of  the  bells  declared  festive  joys,  and  their 
solemn  tones  spake  of  calamities  which  had  befallen 
the  city  and  its  homes.  Mohammedans,  who  originated 
but  little  either  in  their  Koran  or  in  their  civil  code, 
and  yet  who  elaborated  marvelously  foreign  suggestions, 
were  not  -slow  to  adopt  this  tower,  and  join  it  to  their 
beautiful  mosques  as  minarets,  which  in  slender  beauty 
rise  above  the  city’s  dwellings,  and  whence  the  muezzin 
calls  to  the  faithful  the  hours  of  prayer;  but,  at  first, 
the  minarets  were  watch-towers,  where,  three  times  every 
day  and  three  times  every  night,  the  muezzin  scanned 
the  horizon  in  search  of  a possible  enemy. 


Table  of  the  Oldest  Christian  Basilicas, 


I.  IN  ROME. 


NAME. 

DATE. 

CAUSE  OF  REVERENCE. 

CHARACTERISTICS. 

St.  Peter’s. 
St.  Helena. 

324-6 

On  Vatican  Hill,  over 
grave  of  St.  Peter, 
martyred  under 
Nero. 

Contains  piece  of 
Holy  Cross. 

Nave  and  2 double  aisles  ; 
380  feet  long ; archi- 
trave on  the  columns  ; 
high  clerestory. 

Nave  and  2 aisles,  equal 
in  height ; square  tri- 
bune. 

St.  Paul’s  beyond 
the  Walls. 

St.John,  Lateran. 

386 

Over  the  grave  of  St. 
Paul. 

Consecrated  to  the 
two  Johns;  long  the 
chief  church  in 
Christendom. 

Naveand  2doubleaisles  ; 
columns  from  Hadri- 
an’s  Mausoleum; 
arches,  not  architrave, 
on  the  columns. 

Naveand  2 double  aisles  ; 
arches  on  columns; 
very  high  nave. 

Sta.  Maria  Mag- 
gioie. 

352 

One  of  the  five  Patri- 
archal churches. 

Nave  and  2 aisles  ; archi- 
trave  on  columns; 
height  and  breadth  of 
nave  equal  ; mosaics 
on  wall. 

Sta.  Sabina. 

425 

On  the  site  of  an  an- 
cient temple. 

Nave  and  2 aisles;  arch 
upon  columns  ; Cor- 
inthian columns  of  Pa- 
rian marble,  and  mar- 
ble walls. 

S.  Pietro  in  Vineoli. 

442 

Receptacle  for  the 
chains  of  St.  Peter. 

Nave  and  2 aisles,  sepa- 
rated by  20  antique 
Doric  columns,  arches 
on  columns. 

Sta.  Maria  in  Tras- 
tevere. 

450 

Site  of  a sacred  foun- 
tain of  oil. 

Nave  and  2 aisles  ; 22  col- 
umns of  unequal  size 
and  ancient,  having  on 
them  heathen  deities. 

S.  Lorenzo  fuori  le 
Mura. 

580 

Over  the  grave  of  St. 
Lawrence. 

Nave  and  2 aisles  ; col- 
umns carrying  a gal- 
lery, entrance  at  the 
east;  block  between 
capitals  and  aTcli,  as  in 
Byzantine  style  ; patri- 
archal church. 

S.  Agnese  fuori  le 
Mura. 

625 

Over  grave  of  St. 
Agnes. 

Nave  and  2 aisles  ; arches 
on  i6antiqueeolumns  ; 
above  galleries,  with 
small  columns. 

SS.  Quattro  Coro- 
nati. 

650 

Dedicated  to  four 
martyrs. 

Naveand  2 aisles;  Ionic 
and  Corinthian  col- 
umns, with  architrave. 

63 


64 


Ecclesiastical  Architecture. 


NAME. 

DATE. 

CAUSE  OF  REVERENCE. 

CHARACTERISTICS. 

S.  Giorgio  in  Vel- 

682 

Dedicated  to  St. 

Nave  and  2 aisles  : 16  an- 

abro. 

George  and  St.  Se- 

tique  columns,  with  a 

bastian. 

pair  of  piers  in  middle 
of  nave. 

S.  Crisogonc. 

730 

Dedicated  to  S.  Criso- 

Nave  and  2 aisles  ; old 

gonus. 

mosaics  ; pair  of  piers 

S.  Giovanni  a Porta 

in  nave. 

790 

Dedicated  to  St.  John. 

Contains  now  only  4 an- 

Eatina. 

tique  columns  in  por- 
tico and  10  in  interior  ; 
nave  and  aisles,  with  2 

central  piers. 

S.  Maria  in  Cosme- 

790 

Site  of  Temple  of  For- 

Ancient  columns  built  in 

din. 

tune. 

its  walls ; 20  ancient 
columns  bear  up  the 
nave;  a beautiful  cam- 

S. Vincenzo  alle  Tre 

panile  connected  with 
it,  and  crypt. 

772 

Site  of  the  Three 

A transitional  edifice ; 

Fontane. 

Fountains,  accord 

aisles  vaulted;  tran- 

ing to  legend. 

sept  and  choir  beyond ; 
pilasters  on  outer  wall, 
between  windows  ; pil- 

lars, not  columns. 

S.  Nereo  ed  Achilleo 

800 

Site  of  Temple  of  Isis 

Aisles  vaulted  as  crypts. 

S.  Prassede. 

820 

Dedicated  to  S.  Prax 

Aisles  vaulted  as  crypts  ; 

edis. 

4 arches  over  nave,  like 
apse-arch. 

S.  Maria  in  Dom- 

827 

18  beautiful  columns  of 

inica. 

granite;  aisles  vaulted 
as  crypts;  broad  nave  ; 
3 tribunes. 

S.  Martino  a Monti. 

844 

Site  adjacent  to  Baths 

24  antique  columns; 

of  Trajan. 

crypt  18  steps  higher 
than  nave;  aisles 
vaulted  as  crypt 

S.  Clement. 

872 

Dedicated  to  S.  Clem- 

Atrium still  standing; 

ent. 

also  ancient  arrange 
ment  of  tribune  and 
choir. 

S.  Nicholo  in  Car- 

900 

Dedicated  to  St.  Nich- 

Ancient columns  from 

cere. 

olas. 

three  temples  in  ex- 
ternal walls;  founda- 

tions of  these  temples 

visible. 

St.  Maria  in  Domin- 

817 

Exceedingly  wide  nave  ; 

ica. 

narrow  aisles;  3 tri- 
bunes ; mosaics  of  9th 

century. 

II.  AT  RAVENNA. 

S.  Giovanni  Evan 

425 

Dedicated  to  St.John 

An  ardiea  in  place  of 

g e 1 i s t a . 

the  Evangelist. 

atrium  . Byzantine  cu- 
bical blocks  between 

capital  and  arch. 

S.  Agatha. 

425 

Ditto. 

S.  Pietro. 

425 

Ditto. 

Basilican  Style. 


65 


III.  IN  OSTRO=GOTHIC  KINGDOM. -493=526. 


NAME. 

DATE. 

CAUSE  OF  REVERENCE. 

CHARACTERISTICS. 

S.  Theodora. 
S.  Apollinare. 

1 

549 

With  flower-formed  cap- 
itals, and  cubical 
blocks  above  ; no  gal- 
lery; beautiful  mo- 
saics. 

IV.  ELSEWHERE  IN  THE  WEST. 

Cathedral  of  St.  Pa- 
renza  in  Istrieus. 

Cathedral  of  Triest. 

S.  Fredeau,at  Lucca. 

St.  Michele,  at 
Lucca. 

Church  of  the  Apos- 
tles, at  Florence. 

First  Cathedral  of 
Cologne. 

Cloister  Church  of 
St.  Gathen. 

542 

450 

625 

650 

825 

814 

820 

3 tribunes;  mosaics  of 
precious  stones  and 
pearls;  windows  of 
transparent  marble  ; 
bishop’s  seat  and 
benches  for  the  priests. 

2 choirs:  each  choir  with 
3 windows,  and  vaulted 
crypt  below. 

Each  aisle  with  tribune, 
and  a passage  around 
it;  choir  raised,  crypt 
below ; altar  before 
steps  of  choir;  with 
towers. 

V.  IN  THE  ORIENT. 

Basilica  of  Tyre. 

Basilica  on  Calvary, 
Jerusalem 
Basilica  at  Bethle- 
hem. 

320 

323 

Site  of  Crucifixion. 
Site  of  the  Nativity. 

Nave  and  2 aisles  ; with 
atrium. 

Nave  and  2 aisles  ; per- 
haps with  galleries. 
Nave  and  2 double  aisles. 

N.  B.— 1.  The  walls  of  the  nave  were  upon  architrave  or  arches. 

2.  The  ceiling  of  nave  and  aisles  at  first  flat ; but  later,  the  aisles  were 
vaulted. 

3.  The  aisles  in  the  ninth  century  had  apses,  like  the  nave,  to  termi- 
nate them. 

4.  The  apses  of  the  aisles  were  pushed  more  and  more  back  toward  the 
nave-apse  in  late  basilicas. 


5 


Chapter  IIL 

BYZANTINE  STYLE. 

§The  New  Architectural  Type.  Constantinople, 
built  upon  the  site  of  the  ancient  Byzantium,  was  made 
the  capital  of  the  Roman  Empire.  This  city  on  the 
Bosphorus  was  new  Rome,  and  it  was  Christian;  ancient 
and  pagan  Rome  had  passed  away  as  the  seat  of  imperial 
power.  Constantine  beautified  his  new  city  with  noble 
Christian  churches,  called  basilicas.  But  in  the  sixth 
century,  under  the  Emperor  Justinian,  there  was  erected 
a new  type  of  church.  This  new  form,  essentially  un- 
changed, continued  to  be  the  type  for  the  edifices  of  the 
Greek  Church  during  the  nine  subsequent  centuries. 
The  style  was  named  Byzantine.  The  incursions  of  the 
Moslems  resulted  in  the  subjugation  of  province  after 
province  of  the  Eastern  Empire  to  the  followers  of  the 
false  prophet.  Therefore,  in  the  eighth  century  and  after- 
wards, the  might  of  the  Greek  Church  waned  in  the  East; 
and,  as  a result,  the  promise  in  its  new  style  of  architec- 
ture was  never  fulfilled.  However,  the  noblest  mosques 
of  Mohammedanism  owe  their  chiefest  attractions  to  the 
Byzantine  style. 

§ One  Type  with  Varieties.  Progress  is  marked, 
not  by  gradual  evolution,  but  by  great  leaps  within  the 
sphere  of  human  endeavor.  Afterward  the  thousand 
prophetic  voices  may  be  distinguished  which  impelled 
man  forward  in  this  advance.  It  was  in  the  first  half  of 
the  sixth  century  that  two  edifices  were  raised,  one  of 
which  practically  determined  the  character  of  Byzantine 
66 


67 


Byzantine  Style. 

architecture  : the  other  outlined  the  paths  along  which 
Romanesque  and  Gothic  architecture  went  in  their  mag- 
nificent development.  These  two  buildings  were  the 
Church  of  St.  Sophia,  at  Constantinople,  and  the  Church 
of  St.  Vitale,  at  Ravenna.  It  is  to  be  kept  in  mind  that 
both  churches  were  inspired  in  their  structure  by  that 
antithetic  spirit  which  the  Greek  Church  cherished 
against  the  Eatin.  The  Church  of  St.  Vitale  was  an 
aesthetic  novelty,  although  breathing  highest  genius  in 
all  of  its  parts.  On  the  contrary,  the  Church  of  St. 
Sophia  enshrined  within  its  form  the  cross  and  the 
crown,  two  great  symbols  which  Christians  had  already 
employed  for  centuries.  St.  Sophia,  the  architectural 
marvel  of  Justinian  was,  therefore,  a magnificent  de- 
parture from  that  type  of  Christian  edifice  wherein  the 
grand  triumphal  arch  determined  its  form.  Hence- 
forth, for  the  Eastern  church,  St.  Sophia  was  the 
model. 

§ Domical  Forms.  It  is,  therefore,  of  highest  impor- 
tance to  distinguish  the  animating  spirit  in  these  two 
revolutionizing  structures.  The  controlling  thought  in 
both  is  the  central  dome.  Yet  not  the  dome  as  a roof, 
but  the  dome  of  great  magnitude  as  a roof,  was  the 
marvel  of  these  edifices.  The  Byzantine  style  owes  to 
Rome  the  suggestion  that  a great  dome  might  be  set 
high  in  the  air;  owes  also  to  her  the  knowledge  that 
arcades  might  be  used  for  ornamentation.  The  domes 
in  these  Christian  churches  were  free  domes  of  most  im- 
posing proportions.  This  knowledge  of  the  free  dome 
was  also  a gift  of  Rome.  Viewed  from  the  interior,  both 
St.  Vitale  and  St.  Sophia  presented  great  domes,  raised 
high  in  the  air,  and  so  made  equal  appeal  with  the  Pan- 
theon to  the  feeling  of  the  marvelous;  but  here  ends  the 
resemblance.  Rome  had  built  domical  structures  such 


68 


Ecclesiastical  Architecture. 


as  the  unique  Pantheon  and  many  small  domical  temples 
in  imitation  of  Greece  (Fig.  50).  These  small  temples 
with  domes  resting  on  columns,  among  the  Grecian  and 
Roman  edifices,  called  forth  admiration  by  their  fault- 


Fig.  50. 


ROMAN  DOMICAL,  TEMPERS. 


less  symmetry  and  beauty,  but  they  made  no  appeal  to 
the  feeling  of  wonder  in  the  observer,  for  their  domes 
were  small.  The  daring  might  of  the  Christian  spirit  set 
domes  of  great  magnitude  on  arches  supported  by  piers  ; 
and  love  of  the  beautiful  led  him  to  use  arcades  to  adorn 
the  spaces  between  these  massive  piers,  and  thus  gain  a 
new  grace  for  the  interior  of  Christian  churches,  scarcely 
dreamed  of  even  by  the  luxurious  Romans. 


Byzantine  Style. 


69 


Fig.  51. 


A.  TYPICAL  EXAMPLES. 

§ St.  Vitale.  Every  suggestion  of  the  Constantine 
basilica  is  banished  from  this  new  type.  There  is 
within  no  triumphal  arch.  The  ground-plan  (Fig.  51) 
is  an  octagon,  having  before  the  portals  a porch,  called 
the  Ardica.  The  tribune  has 
a semicircular  termination 
within,  and  on  each  side  of  the 
altar  are  the  places  for  the 
nobles  and  their  wives.  En- 
trances to  the  senatorium  and 
matroneum  are  on  each  side  of 
the  apse.  The  nave  was  circu- 
lar and  surrounded  by  seven 
semi-circles,  the  eighth  being 
supplied  by  the  presbyterium. 

Between  these  semicircles  and 
the  sides  of  the  octagon  were 
the  side-naves  for  the  catechu- 
mens. Thus  it  is  seen  that  all 
the  parts  of  the  church  are  the  same  as  in  the  Constan- 
tine basilica ; but  the  form  and  the  whole  aspect  of  the 
church  were  completely  changed.  If  there  be  any  sym- 
bolic idea  in  this  new  type  at  Ravenna,  it  is  to  be  found 
in  the  dome,  a beautiful  crown  above  the  worshiping 
congregation. 


GROUND-PLAN  OF 
ST.  VITATF. 


§ Its  Elevation.  The  great  triumph  of  Byzantine 
architects  was  achieved  when  they  set  the  dome  on  high 
piers  by  means  of  intervening  arches.  They  then  dis- 
covered those  principles  of  structure  which  have  guided 
Christian  architects  in  after  ages ; for  the  Romanesque 
and  the  Gothic  church,  in  their  perfected  development, 
simply  adopted  the  Byzantine  construction.  There  are, 
in  St.  Vitale  (Fig.  51),  eight  strong  piers,  narrower  at 


7o 


Ecclesiastical  Architecture. 


the  face  than  at  the  back,  placed  equidistant  around  a 
circle.  They  are  raised  to  almost  the  height  of  the  roof, 
and  low  arches  are  set  upon  them.  A dome  is  built 
upon  these  arches  (Fig.  52)  ; and  exterior  to  this  dome, 
just  as  was  done  in  the  temple  of  Nocera  (vide  Fig.  28,) 
a hollow  cylinder  was  built  to  assist  in  counterpoising 
the  dome’s  thrust.  This  circle,  surrounded  by  piers  and 


Fig.  52. 


roofed  by  the  dome,  is  the  nave  of  the  church.  A bay 
of  the  nave  is  the  part  between  two  piers.  The  con- 
struction of  a bay  is  important  to  notice,  for  it  gives 
additional  buttressing  to  the  dome.  A semicircle  is 
drawn  between  each  two  piers,  and  on  its  circumference 
two  columns  are  placed,  from  whose  summits  arches  are 
sprung.  Then  two  columns  are  placed  above  these 
arches,  a kind  of  second  story,  and  a half-dome  is  built 
upon  them,  abutting  upon  the  dome  The  effect  of  these 
nave-bays  was  new  and  beautiful.  They  only  needed  to 
be  placed  along  the  sides  of  a rectangle  instead  of  a 
circle,  in  order  to  give  the  nave-bays  of  the  later  styles. 


Byzantine  Style. 


7i 


Inclosing  this  central  structure  of  the  Church  of  St. 
Vitale  there  was  built  an  octagonal  wall,  with  cross-vault- 
ing to  the  center,  thus  adding  to  the  stability  of  the 
dome.  The  side-nave  was  between  this  wall  and  the 
circular  nave.  The  presbyterium  was  a part  of  the  side- 
nave  with  an  added  apse.  It  had  bays,  similar  to  those 
in  the  nave.  Along  its  sides  were  the  senatorium  and  the 
matroneum.  The  porch  was  arched  to  correspond  to  the 
arches  within.  There  was  great  beauty  and  grace  in  the 
interior  of  this  new  type  of  edifice  ; yea,  more,  there  was 
here  the  prototype  of  those  wonderful  naves  and  choirs 
which  form  the  culminating  splendor  of  the  great 
Romanesque  and  Gothic  cathedrals. 

§ St.  Sophia.  The  exterior  of  this  church  (Fig.  53) 
is  primarily  only  a buttress  for  the  central  structure. 


Fig.  53. 


EXTERIOR  VIEW  OF  ST.  SOPHIA. 


Yet  one  is  greatly  impressed  by  the  magnitude  of  the 
porch  in  front,  together  with  the  large  half-circular  win- 
dow, the  half-dome  and  the  magnificent  central  dome, 
seen  above  the  porch.  The  massive  buttresses  at  the 
sides,  rising  to  great  height,  indicate  how  safely  poised 


72 


Ecclesiastical  Architecture. 


the  dome  is,  although  at  an  astonishing  height.  But  we 
must  stand  beneath  the  vast  and  beautiful  dome  of  St. 
Sophia  if  we  would  interpret  the  indwelling  thought 
which  the  architect  embodies  in  this  church.  There  the 
structure  whispers  first  its  great  secret.  The  church  in 
plan  is  a Greek  cross,  and  above  the  crossing  is  poised 
the  dome,  a most  beautiful  crown.  These  are  the  sym- 
bols which  the  Byzantine  basilicas  enshrine  within  their 
form.  These  supersede  hereafter  the  triumphal  arch  in 
the  Greek  church. 

§ Dome  of  St.  Sophia.  The  architect  of  the  small 
temple  at  Nocera  placed  a free  dome  on  a circular  colon- 
nade of  twin  columns ; the  architect  of  St.  Vitale  built 
his  dome  after  the  same  manner  as  that  at  Nocera,  but 
supported  it  by  arches  which  rested  upon  lofty  piers, 
eight  in  number,  arranging  them  at  the  angles  of  a regu- 
lar octagon.  The  architects  of  St.  Sophia  chose  the  dome 
of  the  Pantheon  as  their  pattern  ; but  instead  of  engag- 
ing it  to  the  walls  as  was  done  in  the  Pantheon,  they 
made  it  free,  and  set  it  on  four  great  and  high  piers  by 
means  of  four  arches  and  four  magnificent  pendentives. 
The  mode  of  support  was,  therefore,  essentially  the 
same  as  in  St.  Vitale  ; but  it  was  at  the  angles  of  a 
square,  not  of  an  octagon,  where  the  great  dome-piers 
were  located.  The  dome  of  the  Pantheon  rose  one  hun- 
dred and  forty  feet  high,  but  that  of  St.  Sophia  has  an 
altitude  of  one  hundred  and  eighty  feet.  The  Roman 
dome  was  upheld  by  a circular  wall  of  most  massive 
masonry  ; the  Byzantine  dome  was  sustained  by  mighty 
arches.  It  was  no  small  problem  of  mechanics  to  make 
stable  this  high  structure  resting  on  four  arches.  Yet 
it  was  so  masterfully  solved  that  the  earthquakes  and 
storms  of  fifteen  centuries  have  not  hurled  the  dome  to 
the  ground. 


Byzantine  Style. 


73 


§ Its  Ground=plan.  The  type,  as  shown  in  St. 
Sophia  (Fig.  54),  provided  for  the  same  religious  require- 
ments as  did  the  Constan-  _ 

Fig.  54. 

tine  basilica.  It  had,  there- 
fore, a forecourt  or  atrium, 
a porch,  a great  nave  and 
side-naves,  a senatorium 
and  matroneum,  and  the 
presbyterium.  Galleries  in- 
creased the  capacity  of  the 
church  for  the  accommo- 
dation of  catechumens. 

But  the  edifice  was  anti- 
thetical in  all  else,  in  struc- 
ture as  well  as  in  orna- 
mentation, to  those  basil- 
icas which  Constantine 
built.  The  dome  above 
the  nave  determined  the 
structural  principles  of  the 
edifice;  the  inclosed  Greek 
cross  was  an  after-thought,  giving,  however,  to  the  Byzan- 
tine church  a new  and  remarkable  symbolic  character. 


GROUND-PLAN  OF  ST.  SOPHIA. 


§ Its  Elevation.  Four  piers  of  colossal  size  (Fig.  54) 
were  erected  at  the  corners  of  a square  ; four  mighty 
arches  were  sprung  from  these  piers  over  the  sides  of 
the  square.  Pendentives  were  then  built  exterior  and 
between  these  arches,  making  a kind  of  concave  wedge. 
These  pendentives  were  built  in  courses  of  masonry,  and 
at  the  height  of  the  crown  of  the  arches  they  made  a 
circle.  This  structure  was  built  to  support  the  dome 
above  the  nave.  Buttressing  piers,  four  in  number, 
were  placed  on  the  north  and  south  sides,  opposite 
the  nave-piers,  with  a passage-way  between  them,  and 


74 


Ecclesiastical  Architecture. 


cylinder  vaults  were  built  upon  these  piers,  opening 
north  and  south.  The  buttressing  of  the  dome  on  the 
eastern  and  western  sides  was  accomplished  in  the  fol- 
lowing manner  : A pair  of  smaller  piers  were  built  on 
the  west  of  the  central  structure  at  a distance  from  the 
nave-piers  equal  to  half  the  diameter  of  the  dome,  and  a 
similar  pair  on  the  east.  Half-domes,  of  the  same  diam- 
eter as  the  central  dome,  were  placed  upon  these  smaller 
piers  and  the  larger  piers  of  the  nave,  and  these  half- 
domes abutted  upon  the  transverse  arches  of  the  central 
dome.  The  walls  of  the  porch  and  those  of  the  tribune 
gave  further  buttressing  to  the  dome  on  the  west  and 
the  east.  The  filling  in  of  walls  between  the  buttresses 
on  the  north  and  south  sides,  together  with  the  vaultings 
above  the  side-naves  and  galleries,  all  made  a compact 
building,  whose  parts  mutually  united  to  sustain  the 
mighty  central  dome. 

§ The  Domical  System.  So  new  and  remarkable  is 
the  roofing  of  the  Byzantine  basilica  that  a view  of  its 


Fig.  55. 


DOMICAL  SYSTEM  OF  ST.  SOPHIA. 


domical  system  (Fig.  55)  will  be.  studied  with  interest. 
The  central  dome,  with  the  pendentives  and  the  great 
cylinder  vault  on  the  south,  are  easily  distinguished.  On 


Byzantine  Style. 


75 


the  right  are  the  half-domes  over  the  presbyterium ; on 
the  left  the  half-dome  above  the  addition  to  the  nave,  and 
also  the  tunnel-vault  over  the  entrance  to  the  church. 

§ Interior  View.  We  see  the  mighty  frame- work 
of  the  church  (Fig.  56),  the  piers,  arches,  penden- 

Fig.  56. 


INTERIOR  VIEW  OF  ST.  SOPHIA. 

tives,  and  dome  of  the  nave,  also  the  piers  and  half- 
domes  of  the  presbyterium.  The  structure  of  the 


76 


Ecclesiastical  Arch  it ec  i ure. 


building  is  strong,  secure,  massive;  and  the  arches, 
pendentives,  and  domes  present  graceful  and  pleasing 
forms  to  the  eye.  What  remained  was  to  beautify  the 
church  and  make  manifest  the  rich  symbolism  within. 
Four  beautiful  columns  are  placed  between  the  piers  of 
the  dome  on  the  north  and  south  side,  and  five  graceful 
round  arches  are  set  upon  these  columns.  Above  them 
an  arcade  of  seven  arches  is  builded.  These  columns 
were  of  various  colored  marbles,  and  most  precious. 
Their  capitals  were  of  new  designs,  and  the  floor  and 
the  surface  of  the  piers  were  inlaid  with  precious  stones. 
The  head  of  each  side-arch  was  pierced  with  windows, 
and  mosaics  adorned  the  wall-spaces  around  them.  Exte- 
rior to  the  great  arches,  answering  to  the  spandrels  in  an 
arcade,  the  pendentives  were  built,  the  new  device  of  By- 
zantine art,  and  symbolic  representations  on  a brighter 
background  than  below  beautified  these  pendentives.  The 
face  of  the  dome  was  a background  of  gold,  and  the  circle 
of  windows  at  its  base  seemed,  when  the  sunlight  shone 
through,  like  sparkling  diamonds  set  in  the  effulgence  of 
gold.  Truly,  the  dome  is  a crown.  The  light,  as  it  en- 
tered the  church,  wrought  marvelous  effects.  The  arms 
of  the  cross  toward  the  entrance  and  toward  the  apse, 
as  the  rays  of  the  sun  streamed  in,  shone  in  silvery 
splendor,  and  the  north  and  south  arms  also  became 
dazzlingly  bright.  Their  junction  at  the  center  was  in 
shade.  Yet  above  this  place,  where  shadow  touched  the 
cross,  was  the  golden  glory  of  the  crown.  Justinian, 
standing  within  this  shadow,  beheld  the  superb  effects 
wrought  by  his  beautiful  Church  of  St.  Sophia.  Then 
he  recalled  Jerusalem  and  the  wonderful  temple  which 
Solomon  built  on  Mount  Moriah,  so  marvelous  in  its 
beauty  that  for  centuries  the  memories  of  its  glory  awoke 
in  the  Hebrew  poets  and  prophets  lamentations  that  its 
splendor  had  all  departed.  And  the  emperor,  under  the 


Byzantine  Style. 


77 


noble  enthusiasm  which  his  own  work  enkindled  within 
him,  spake  from  his  heart,  and  said  : “ I have  vanquished 
thee,  O King  Solomon!” 

B.  BYZANTINE  CHARACTERISTICS. 

§ Structural  Peculiarities.  The  Byzantine  basilica 
was  a vaulted  structure,  in  which  the  weight  and  thrusts 
were  concentrated  upon  well-buttressed  piers.  The 
whole  building  culminates  in  a dome  of  great  magni- 
tude, which  is  made  to  rest  upon  two  transverse  and  two 
longitudinal  arches  of  the  same  diameter.  The  height 
of  the  supporting  piers  and  the  great  strength  of  these 
arches  immediately  command  attention.  Standing  un- 
der the  dome,  one  sees  the  presbyterium  and  the  exten- 
sion of  the  nave,  when  looking  east  and  west,  and  the 
side-naves  when  looking  north  and  south.  There  is, 
therefore,  the  impression  given  that  the  building  is 
cruciform,  the  arms  of  the  cross  being  equal. 

§ Interior  Arcade=system.  The  great  space  between 
the  north  and  south  archways  of  the  dome  was  filled  in 
by  a two-storied  arcade,  which  reached  as  high  as  the 
summit  of  the  piers.  The  crown  of  the  arch  was  built 
in  as  a solid  wall  and  perforated  with  many  window- 
openings.  There  are  also  two-storied  arcades  between 
the  greater  and  the  lesser  piers ; these  arcades  are  semi- 
circular. The  whole  interior  of  the  church  receives 
great  attractiveness  through  these  arcades.  The  upper 
ones  made,  also,  galleries  for  the  church. 

§ Decorative  Features.  The  piers  and  the  walls 
were  incrusted  with  marbles  of  various  colors.  The 
marble  slabs  were  set  in  a frame  of  ornamental  mould- 
ings, making  a beautifully  paneled  surface.  The  arcades 
were  richly  carved.  Intricate  leaf  and  scroll-patterns 


78  Ecclesiastical  Architecture. 

enriched  the  archivolts  and  spandrels,  while  the  cor- 
nices above  the  arcade  were  inlaid  work  of  different 
marbles,  and  were  also  beautifully  carved.  The  appear- 
ance was  that  of  lace-work  wrought  out  in  stone.  The 
columns  are  noteworthy.  Shaft  was  the  gift  of  temples 
in  Asia,  Egypt,  and  Rome.  The  capitals  of  the  Byzan- 


Fig.  57. 


BYZANTINE)  CAPITALS. 


tine  style  indicate  rupture  from  the  Greek  and  Roman 
models.  And,  where  classical  influence  is  most  seen, 
there  is,  nevertheless,  independent  treatment.  One 
form  (Fig.  57),  in  which  volute  and  acanthus-leaf  are 
present,  seems  Corinthian  ; but  the  acanthus-leaves  are 
turned  away  from  the  volutes,  and  made  to  encircle  a 
monogram  of  the  Christ.  The  Ionic  capital  may  seem 
to  be  imitated  in  another  form  ; but  under  the  volutes  a 
curious  foliage  is  sculptured  around  the  capital.  A new 


Byzantine  ‘Style. 


79 


form  is  seen  among  the  group,  where  an  inverted  pyramid 
is  made  the  capital,  and  a cube,  with  the  sides  chamfered 
off,  is  set  thereon  to  give  support  to  the  arch’s  foot. 
The  cube  has  on  it  a symbolic  monogram.  A fourth 
form  presents  a variation  in  its  sculpturing : the  capital 
is  sculptured  below  into  acanthus-leaves ; but,  on  the 
sides  of  the  impost  cubical  block,  bird-forms  appear. 
Call  all  these  capitals,  if  you  please,  vulgar,  the  extrav- 
agance of  an  untrained  fancy  ; it  is  better,  being  alive 
with  serious  thought,  than  the  most  perfect  servile  im- 
itation of  classical  forms.  The  domes,  half-domes,  and 
pendentives  were  adorned  with  mosaics.  The  back- 
ground was  gold,  and  in  some  cases  a blue,  like  that 
of  the  sky  ; and  the  artist,  with  little  cubes  of  many 
colors,  portrayed  the  forms  of  apostle  and  saint,  the 
stories  of  Christ  and  of  the  prophets,  and,  by  means  of 
symbols  and  allegories,  the  great  Christian  doctrines 
and  virtues.  There  was  royal  splendor  in  the  Byzan- 
tine basilicas,  a splendor  in  strongest  contrast  with  the 
enrichment  of  pagan  temples,  and  manifesting  to  every 
eye  the  beautiful  symbols  of  a triumphant  religious  faith. 

C.  VARIETIES  IN  THE  BYZANTINE  STYLE. 

§ Germano-Byzantine  Style.  The  promise  in  the 
new  style  of  architecture  which  was  given  in  the  two 
churches  of  St.  Vitale  and  St.  Sophia,  never  reached 
fulfillment ; for  the  rise  of  the  Moslem  power  was  a 
constant  and  fearful  menace  to  the  Empire  of  the  East 
for  centuries.  Oriental  Christianity  then  struggled  for 
existence.  The  Western  Empire,  during  this  period, 
was  overthrown  by  the  Goths ; but  Charlemagne  re- 
established it  as  leader  and  emperor  of  the  Germanic 
tribes,  and  built  his  favorite  capital  at  Aix  la  Chapelle. 
It  was  here  that  he  built  his  court-chapel,  which  intro- 
duced the  principles  of  the  Byzantine  style  in  Western 


So 


Ecclesiastical  Architecture. 


Europe.  The  church  (Fig. 
58)  resembles  St.  Vitale,  at 
Ravenna.  The  central  struc- 
ture is  built  upon  eight  piers 
set  at  the  angles  of  an  oc- 
tagon. These  support  the 
dome.  Exterior  to  this  cen- 
tral part  is  a polygonal  wall, 
inclosing  the  aisles  and  but- 
tressing also  the  center. 
The  church  is  a double 
church : below  was  the  place 
of  sepulture  for  the  imperial 
family ; above  was  the  place 
for  public  worship.  The 
cylindrical  vault  and  its  mod- 
ification roofed  the  lower 


church  ; the  upper  church  was  vaulted  with  the  dome 
and  cross-vaults.  The  longitudinal  section  (Fig.  59)  will 

Fig.  59. 


Fig.  58. 


GROUND-PFAN  OF  CHARFF- 
MAGNF’S  CHAPFF. 


Byzantine  Style. 


8i 


show  the  construction  of  the  building.  The  vaultings, 
the  double  arcade  in  the  up^er  church,  the  dome-con- 
struction, were  Byzantine  and  most  important  objects 
of  study  for  those  architects  who  created,  in  later  times, 
the  Romanesque  and  Gothic  styles.  The  exterior  of 
this  royal  chapel  (Fig.  60)  was  also  very  instructive. 
The  massive  struc- 
ture before  the 
church,  an  en- 
trance-way, and 
flanked  by  towers, 
was  a crude  sug- 
gestion of  the 
porches  and  tow- 
ers of  the  later 
Western  styles  in 
Christian  archi- 
tecture. The  cor- 
respondence be-  exterior  view  of  court-chapel. 

tween  the  exterior  walls  of  the  nave-aisles  and  of  the 
dome  is  noteworthy.  It  is  true  that  the  porch,  with  its 
towers,  harmonizes  but  poorly  with  the  grace  of  the 
polygonal  church.  Yet  the  two  distinct  structures  were 
great  object-lessons  to  architects.  The  West  seized 
upon  the  porch  and  developed  it  into  the  magnificent 
western  facades  of  its  cathedrals.  But  when  the  Cru- 
saders built  their  temple  on  Mount  Moriah,  they  took 
simply  the  polygonal  structure,  and  built  what  is  now 
known  as  the  Mosque  of  Omar,  “the  second  most  beau- 
tiful edifice  in  the  world.”  The  Byzantine  style,  how- 
ever, has  not  its  richest  development  in  Christian  archi- 
tecture ; for  when  Constantinople  fell,  in  1453,  the  fair- 
est of  Byzantine  Christian  churches  became  a Turkish 
mosque,  and,  under  its  suggestions,  the  victorious  Mos- 
lems developed  the  mosque-architecture,  which  often- 

6 


82 


Ecclesiastical  Architecture. 


times  seems  so  fragile  that  one  is  tempted  to  regard  their 
mosques  as  erected  for  the  sport  of  the  winds.  Yet  they 
stand,  century  after  century,  giving  witness  to  the  sta- 
bility of  structures  built  according  to  the  principles  of 
Byzantine  architecture. 

§ Russo=Byzantine  Style.  Vladimir  the  Great 
(981-1015)  witnessed  a general  acceptance  of  Christian- 
ity in  Russia  during  his  reign,  and  he  ordered  the  erec- 
tion of  Christian  churches  in  his  realm.  Constantinople 
was  the  chief  source  wdience  came  Christian  instruction, 
and  this  grand  Slavonic  nation  in  its  infancy  received 
gifts  of  civilization  and  religion  from  the  Queen  of  the 
Bosphorus.  Mongols,  from  Asia,  invaded  Russia,  and 

established  a supremacy 
there,  which  continued 
two  centuries.  Ivan  III 
built  anew  the  Russian 
Empire  in  the  latter 
half  of  the  15th  century. 
The  religion  of  the  new 
empire,  as  that  of  Vlad- 
imir’s kingdom,  was  the 
Greek  Church.  Ivan  III 
built  churches  with  Ital- 
ian architects,  modeling 
them  after  the  Cathedral 
of  Vladimir,  the  oldest 
metropolitan  church  in 
Russia.  The  Church  of 
the  Assumption,  at  Mos- 
church  of  the  assumption,  cow  (Fig.  61),  presents 

Moscow.  the  Russo-Byzantine 

type.  The  edifice  is  in  the  Byzantine  style  ; for  there  is 
a central  dome,  built  upon  piers  with  arches,  and  but- 


Byzantine  Style. 


$3 


tressed  by  the  exterior  walls.  But  the  dome  is  bulb- 
shaped and  raised  above  the  roof  by  means  of  a slender 
cylindrical  tower.  Similar,  but  smaller  domes  were 
placed  at  the  four  corners  of  the  edifice.  All  this  parade 
of  domes  upon  the  roof  is  Russian,  and  perhaps  of  Tartar 
origin.  The  interior  of  these  churches  is  very  plain, 
having  the  screen,  which  is  called  the  iconastasis,  figured 
with  painted  pictures  of  saints  in  a conventional  man- 
ner, and  made  splendid  by  the  glitter  of  silver  and  gold. 
Elsewhere  the  interior  of  the  church  is  most  unattractive. 
The  barbaric  love  of  splendor  is  shown  without.  Bulb- 
shaped domes  of  green  or  blue  are  broken  into  by  stars 
and  surmounted  by  crosses  of  gilt;  roofs  are  painted  yel- 
low, or  red,  or  white,  and  make  a fantastic  blending  of 
color,  such  as  the  American  Indians  love  on  their  head- 
dresses and  mantles.  A more  perfect  acquaintance  with 
Christian  architecture  has  taught  the  Russians  how  in- 
congruous such  an  array  of  inharmonious  forms  and 
colors  is  with  a refined  taste,  and  it  occasions  no  sur- 
prise to  learn  that  an  imperial  edict  has  gone  forth  in 
this  our  century,  ordering  that  Russian  churches  here- 
after should  conform  to  the  old  Byzantine  style,  to  the 
style  of  St.  Sophia.  We  trust  the  next  edict  of  Russia 
will  be  to  go  to  Constantinople,  and  own  the  marvelous 
St.  Sophia  and  its  surrounding  city.  The  hand  of  the 
architect  had,  in  the  Russo-Byzantine  style,  full  freedom 
only  in  the  decoration  of  the  roof.  Here  he  often  makes 
a hodge-podge  of  all  forms  : Octagonal  towers,  one  above 
the  other,  topped  with  bulb-domes;  pyramidal  towers, 
topped  off,  also,  with  bulb-domes  ; the  round  arch  and 
arcade  within  an  arch ; pilaster-colonnades  around  the 
sides, — all  are  found  here.  Indeed,  every  form  of  orna- 
ment known  seems  to  be  massed  on  this  exterior,  and 
every  effect  sought  which  may  be  attained  by  means  of 
gilt  and  paint  in  the  primary  colors.  The  Cathedral  of 


84  Ecclesiastical  Architecture . 

Vassili  Blanskenoy,  at  Moscow  (Fig.  62),  is  the  climax 
of  this  grotesqueness  in  the  Russo-Byzantine  style.  It 


Fig.  62. 


CATHEDRAI,  OF  VASSILI  BLANSKENOY,  MOSCOW. 

is  truly  a barbaric  pile,  a splendid  religious  monstrosity 
among  Christian  churches. 


Byzantine  Style. 


85 


§ Greco=Byzantine  Style.  The  influence  of  Con- 
stantinople declined  constantly  as  the  power  of  the 
Moslems  increased.  In  consequence,  many  provinces, 
like  Georgia  and  Armenia,  assumed  more  independent 
relations  in  matters  of  State  and  Church.  However,  the 
Greek  Church  was  the  form  of  Christianity  among  them, 
and,  in  later  centuries,  when  Europe  increased  in  power 
and  the  Sultan  became  weaker,  a Byzantine  style  arose 
in  these  countries  and  in  these  times  which  retained 
the  Greek  cross  as  the  form  of  the  church  proper,  and 
the  dome  above  the  crossing,  both  essential  features  of 
the  Byzantine  style,  but  adopted  the  mode  of  roofing 
which  was  characteristic  of  the  Constantine  basilica,  that 
is,  the  gable-roof. 

The  Church  of 
St.  Taxiarc.hus, 
at  Cynthus  (Fig. 

63) , is  an  example 
of  this  modifica- 
tion of  the  By- 
zantine style. 

The  ground-plan 
is  a square,  as 
seen  from  with- 
out; but  the  in- 
terior is  a Greek 
cross  with  the 
dome  above  the 
crossing.  The 
nave  is  covered 
by  a gable-roof 
and  the  side- 
naves  by  lower 
over  the  transept-arm  of  the  cross,  equal  in  height  to 
the  nave.  The  principal  entrance  is  at  the  transept  on 


Fig.  63. 


CHURCH  OF  ST.  TAXIARCHUS. 


shed- roofs.  There  is  a transept-roof 


86 


Ecclesiastical  Architecture. 


the  south.  A more  graceful  and  beautiful  example  of 
this  style  is  found  in  the  Cathedral  of  Ani  (Fig.  64),  in 
Armenia,  The  proportions  of  the  church  are  those  of 
the  Constantine  basilica,  having  greater  length  than 
breadth.  The  beautiful  dome  above  the  crossing,  raised 
upon  a cylindrical  tambour,  adds  new  grace  to  the  ex- 


Fig.  64. 


CATHEDRAL  of  ani. 


terior.  The  transepts  are  midway  in  the  building,  and 
their  gable-roofs  have  the  same  elevation  as  that  of  the 
nave.  The  walls  are  paneled  with  arcades.  The  door- 
way, arched  and  recessed,  stands  at  the  south  transept. 
The  style  of  the  church  is  Greco-Byzantine,  but  the 
proportions  and  wall-decorations  are  similar  to  that 
employed  in  the  Church  of  St.  Apollinare,  at  Classe 
( vide  Fig.  49).  There  were  some  churches  of  this  style 
built  by  the  Greeks  and  Armenians  during  the  tenth 


Byzantine  Style. 


87 


and  the  following  centuries.  They  excelled,  architec- 
turally, the  Byzantine  type,  in  that  the  exterior  had 
greater  grace  and  beauty  of  form,  and  gave  to  the  eye 
an  outward  cruciform  appearance,  thus  giving  expres- 
sion, within  and  without,  to  the  great  symbol  of  the 
Christian  Church.  The  influence  of  the  Turk  in  those 
countries  where  this  Greco-Byzantine  style  had  origin, 
made  the  conditions  for  the  fullest  development  of  this 
style  most  unfavorable.  But  the  few  edifices  which  are 
extant  show  that  the  combination  of  the  Basilican  and 
Byzantine  styles  produced  churches  which,  externally 
at  least,  surpassed  either  style  in  attractiveness. 

§Roumano=Byzantine  Style.  The  Roumanians 
claim  descent  from  the  Romans,  and  they  speak  a lan- 
guage closely  allied  to  the  Eatin.  They  were  subject  to 
the  Sultan,  at  Constantinople,  when  he  gained  power 
in  Europe,  and  so  were  brought  under  the  influence  of 
Byzantine  art,  more  especially  as  it  was  developed  in 
connection  with  mosque-architecture.  However,  in  re- 
ligion the  Roumanians  were  Eatin  Catholics.  The  his- 
tory of  the  struggle  of  this  people  to  throw  off  the 
Sultan’s  yoke  is  a pathway  of  tragedy  and  patriotism. 
The  first  period  of  comparative  prosperity,  after  repeated 
disasters,  was  in  the  early  part  of  the  16th  century. 
The  towns  and  villages  were  even  then  built  of  “ wood 
and  wattle  and  daub but  its  ruler  at  this  time  intro- 
duced architecture,  building  churches  and  monasteries. 
He  adorned  the  ancient  Mount  Athos  with  Christian 
churches.  The  allegiance  of  the  Wallachian  Church 
at  this  time  was  transferred  to  Constantinople.  The 
church-architecture  of  this  period,  as  it  was  represented 
in  Wallachia,  united  features  which  were  common  to 
both  the  Romanesque  and  Byzantine  churches,  and  in 
this  union  there  is  evidenced  the  earlier  adherence  to 


88 


Ecclesiastical  Architecture. 


the  Pope  of  Rome,  and  the  later  transference  of  the 
Wallachian  Church  to  the  patriarch  of  Constantinople. 
The  Cathedral  of  Argish,  in  Wallachia  (Fig.  65),  will 

Fig.  65. 


CATHEDRAL,  AT  ARGISH. 

illustrate  this  new  variety.  The  transept  is  midway  of 
the  church,  and  above  the  crossing  is  a dome,  which  re- 


Byzantine  Style. 


89 


minds  one  of  the  domes  of  Byzantine  churches.  The 
choir  has  a similar  dome  above  it,  polygonal  apses  are 
on  each  side  of  the  choir,  except  the  side  toward  the 
nave.  The  nave,  extending  toward  the  west,  and  of  the 
same  breadth  as  the  choir,  makes  the  church  cruciform. 
There  are  two  turrets  at  the  western  facade,  smaller,  but 
of  similar  type,  to  the  domes  above  the  crossing  and  the 
choir.  The  exterior  walls  are  paneled  in  the  lower  story 
with  rectangular  figures,  and  in  the  second  story  with 
beautiful  arcades.  The  windows  below  are  rectangular, 
narrow,  and  high;  but  they  are  circular  above.  The 
church  is  singularly  beautiful,  unlike,  in  its  general  ap- 
pearance, to  the  churches  of  the  Occident  or  the  Orient. 
It  stands  as  a witness  to  the  attractiveness  of  churches 
which  combine  harmoniously  the  Eastern  and  Western 
styles;  for  this  cathedral,  in  form  and  elevation,  is  Byzan- 
tine ; but  the  charm  of  the  choir,  the  beauty  of  the  ex- 
terior, the  graceful  disposition  of  the  domes  and  turrets, 
make  one  think  of  the  Romanesque  church. 


Table  of  Byzantine  Churches. 

I.  IN  CONSTANTINOPLE. 


NAME. 

DATE. 

PRESENT  USE. 

CHARACTERISTICS. 

St.  Sergius. 

52° 

A mosque. 

Nave,  a circle;  great 
dome  above;  semicir- 
cular recess  between 
arms  of  the  cross  ; ex- 
terior form,  a square. 
The  original  model  of 
St.  Sophia. 

St.  Sophia. 
St.  George. 

532 

A mosque. 

A Christian  church. 

Nave,  a square  with  semi- 
circles on  the  east  an  1 
west  sides  having  di- 
ameter equal  to  side  of 
the  square ; great  dome 
above  the  crossing; 
semicircles  between 
the  arms  of  the  cross. 
Greatest  of  Byzantine 
churches. 

Church  of  the  Savior. 

A mosque. 

Surpassing  in  purity  of 
style  the  churches  of 
Ravenna  with  beauti- 
ful mosaics  of  14th  cen- 
tury. 

Pantoerator. 

cir.  950 

A mosque. 

A triple  church. 

Pamma-caristou. 

cir.  950 

A mosque. 

One  dome  still  with  beau- 
tiful mosaics. 

IIo  IN  SALONICA. 


St.  Sophia. 
St.  George. 

cir.  800 

A mosque. 
A mosque. 

Transepts  cross  at  the 
middle  of  nave  ; dome 
with  rich  mosaics,  cov- 
ering 600  square  yards 
of  space. 

Circular  in  plan ; dome 
80  feet  in  diameter  ; the 
dome  has  800  square 
yards  of  ancient  mo- 
saics, the  largest  work 
in  ancient  mosaics  ex- 
tant. 

III.  IN  RAVENNA. 

SS.  Nazario  e Celso. 

450 

Roman  Catholic 
chapel. 

A chapel  of  sepulture  ; in 
plan  a Greek  cross  with 
transept-arm  shorter ; a 
central  dome;  and  four 
abutting  semi-domes. 

St.  Vitale. 

530 

Circular  in  form,  with  a 
central  dome  and  abut- 
ting  half-domes;  an- 
cient mosaics  only  in 
choir. 

90 


Byzantine  Style. 


91 


IV.  IN  RUSSIA. 


NAME. 

DATE. 

PRESENT  USE. 

CHARACTERISTICS. 

Cathedral  at  Kief. 

St.  Michael,  at  Kief. 

Church  of  the  As- 
sumption, Moscow. 

Cathedral  of  Vassili 
Blanskenoy,  Mos- 
cow. 

Greek  church. 
Monastery. 

Greek  church. 

Greek  church. 

Like  St.  Sophia,  of  Con- 
stantinople, according 
to  some. 

The  original  church  had 
15  golden  cupolas,  and 
was  called  the  Golden 
Heads. 

Five  domes ; beautifully 
and  fantastically  deco- 
rated ; great  treasures 
in  the  church. 

Many  cupolas  and  spires  ; 
a mass  of  ornament  and 
paint ; monument  to  a 
bizarre  taste. 

V.  ELSEWHERE. 

Church  of  St.  Taxi- 
archus,  Cynthus. 

Cathedral  at  Ani. 

Greek  church. 
Greek  church. 

Plan  is  a square  ; gable- 
transept  and  nave  of 
equal  height ; cupola  at 
crossing;  side-naves 
with  shed-roofs. 

Plan  is  a rectangle,  with 
greater  length  than 
breadth  ; the  crossing, 
central;  roofing  of 
nave  and  transepts  of 
equal  height;  dome 
above  crossing. 

N.  B. — 1.  The  Byzantine  church  isa  squareor  octagon,  usually  showing  within 
the  Greek  cross. 

2.  The  Russo-Byzantine  churches  are  distinguished  by  domes  and  gilt 

and  color. 

3.  Other  varieties  exhibit  the  adoption  of  features  of  the  Basilican 

Style. 


Chapter  IV* 

ROMANESQUE  STYLE. 


§ The  Greek  Church.  When  the  first  ten  centuries 
of  the  Christian  era  closed,  the  Greek  Church,  or  the 
Church  of  the  East,  had  developed  an  architecture  of  its 
own,  which  has  received  the  name  of  the  Byzantine 
Style.  But  the  invading  Moslem  arrested  the  spread  of 
the  Greek  Church ; indeed,  took  from  the  Christians 
their  own  edifices  in  Syria  and  in  Egypt,  and  destroyed 
them  or  converted  them  into  mosques.  The  emperors 
of  Constantinople  could  not  conquer  the  followers  of 
Mohammed  ; could  not,  therefore,  deliver  the  Christians 
of  Syria  and  Africa  from  their  dominion  ; but  the  im- 
perial city  itself  withstood  the  attacks  of  the  Moslems 
until  the  middle  of  the  fifteenth  century.  Then  Con- 
stantinople fell. 

§ The  Latin  Church.  When  the  city  of  Constantine 
was  made,  in  the  fourth  century,  a Patriarchate,  and 
ranked  equal  to  Rome,  and  was  named  second  in  the 
enumeration  of  the  patriarchs,  the  Bishop  of  Rome  made 
strong  protest  against  the  degrading  of  the  patriarchs  of 
Antioch,  Alexandria,  and  Caesarea,  claiming  that  pre- 
eminence among  the  Churches  was  grounded,  not  on  im- 
23erial  favor,  but  on  apostolic  authority.  From  this  time 
the  Christianity  of  the  West  and  that  of  the  East  began 
to  diverge  on  lines  that  ultimately  effected  complete 
separation.  The  Church  of  the  West,  while  it  was  a 
protesting  patriarchal  Church  before  the  Papacy  was 
fully  developed,  is  the  Latin  Church.  Its  architecture 
?2 


Romanesque  Style. 


93 


was,  in  the  main,  like  that  of  the  Constantine  basilica. 
The  splendor  of  some  of  these  Latin  basilicas  rivaled 
the  magnificence  of  St.  Sophia.  These  churches  of 
the  West  may  be  called  either  Constantine  or  Latin 
basilicas. 

§ The  Papal  Church.  The  Church  of  the  West  was  es- 
tablished among  the  Germanic  people  at  the  commence- 
ment of  the  eleventh  century,  and  became  the  Church 
of  the  Papacy.  Rome  was  its  center.  The  Patriarchate 
of  Rome  was  the  oldest,  and  pointed  to  traditions  which 
united  it  with  the  labors  of  the  disciples  and  apostles  of 
Christ.  Rome  held,  according  to  tradition,  the  graves  of 
St.  Peter  and  St.  Paul.  Great  Christian  basilicas  marked 
the  sites  of  their  tombs.  The  Latin  Church  had  sent 
forth  the  heralds  of  Christianity  into  the  far  Occident  and 
converted  the  German  barbarians.  Centuries  of  struggle 
passed  before  the  influential  Churches  of  Germany  and 
France  yielded  submission  to  Rome.  But  when  Hilde- 
brand determined  the  policy  of  the  Church  of  Rome, 
Latin  Christianity  in  Western  Europe  became  Papal,  and 
was  united  in  one  vast  ecclesiastical  organization.  The 
Roman  pontiff  was  its  spiritual  head.  This  system  was 
the  Germanic  Church.  The  Romanesque  style  is  the 
first  style  of  architecture  which  was  developed  within 
the  borders  of  the  Germanic  Church,  and  it  continued 
during  the  time  included  between  1000-1250  A.  D.  This 
architecture  is  not  to  be  regarded  as  a modification  of 
the  Latin  basilica;  it  is  as  essentially  different  from  the 
Latin  basilican  style  as  the  Germanic  Pontifical  Church  is 
different  from  the  Latin  Patriarchal  Church.  Since  it  was 
developed  among  rival  States,  which  became  distinct 
nationalities,  the  Romanesque  architecture  abounds  in 
beautiful  variations,  expressive  of  the  creative  genius 
among  the  nations  of  the  West. 


94 


Ecclesiastica l Architec  ture. 


A.  THE  CONSTRUCTION  OF  THE  ROMANESQUE  CHURCH. 

§ Cruciform  Plan.  The  Latin  cross  determines  the 
Romanesque  architecture  just  as  absolutely  as  the  Greek 
cross  determines  Byzantine  architecture.  The  Latin 
or  Constantine  basilica  was  not  cruciform.  Manifest  ad- 
vantage will  be  gained  if  we  consider  the  type  in  its 
greatest  simplicity.  Yet  the  plan  in  its  simplicity  did 
not  at  first  appear.  Cathedrals  and  abbey-churches  were 
built  embodying  the  typical  form,  which  combined, 
also,  many  accessories  necessary  for  worship  in  cathe- 
dral cities  and  abbey-communities  ; these,  however,  fell 
off  in  those  churches  where  fewer  demands  were  made 
upon  the  edifices  because  of  a simpler  ceremonial  service. 
The  ground-plan  of  the  Romanesque  church  may  be  re- 
garded as  that  of  a Latin  basilica,  changed  so  as  to  con- 
form to  the  Romanesque  style.  The  general  rule  of  pro- 
portion between  the  nave  and  the  aisles  in  the  Latin 
basilicas  was  to  make  the  aisle  equal  to  half  the  width  oi 
the  nave.  This  ratio  was  retained  in  the  Romanesque 
church.  But  the  change,  which  transformed  this  ground- 
plan  into  that  of  the  Romanesque,  was  to  place  on  the 
north  and  south  sides  of  the  eastern  terminal  square  of 
the  Latin  nave,  a similar  square  (Fig.  66),  and  also  such 
a square  between  this  eastern  square  and  the  tribune. 
In  this  way  the  ground-plan  of  the  Romanesque  style  is 
obtained,  and  it  is  seen  to  be  cruciform. 

§ Distinction  of  Parts.  This  new  addition  to  the 
parts  of  the  church  called  for  other  names.  The  square, 
whose  four  sides  were  bounded  by  squares,  was  named 
the  crossing.  The  square  to  the  east,  together  with  the 
tribune,  was  called  the  apse,  and  these  make  the  choir. 
The  two  squares,  one  on  the  north  side  and  the  other 
on  the  south  side  of  the  crossing,  make  the  transepts. 


Romanesque  Style . 


95 


The  nave  is  that  part  of  the  church  to  the  west  of  the 
crossing.  The  side-aisles  are  simply  side-walks,  across 
which  light  comes  into  the  p,G  66. 

nave  from  the  windows  of  the 
outer  walls.  It  is  only  at  the 
crossing  that  the  formative 
principle  of  the  building  is  ap- 
parent. Standing  here,  the  in- 
shrined  cross  is  seen,  bathed 
in  light  from  the  choir  and 
the  transepts  and  the  nave- 
window  in  the  western  facade. 

It  is  to  be  observed  that  the 
Romanesque  church  separates, 
by  the  crossing  and  transepts, 
the  whole  worshiping  congre- 
gation  from  the  sanctuary, 
while  the  Constantine  basilica 
(Fig.  40)  places  the  nobility 
and  their  families  on  each  side 
of  the  altar.  In  the  Byzantine 
church  (Fig.  54)  the  nave  was 

central,  within  the  arms  of  the  t-u-uu-ua,!?  _ — -5>a‘ 

cross ; but  in  the  Romanesque  CHURCH  AT  dobril,ugk. 
church  the  nave  is  the  body  of  the  church  west  of 
the  transepts,  which  make  the  arms  of  the  cross. 

§ Rectangular  Choir.  Varieties  of  this  cruciform 
type  occur  through  the  shape  and  surroundings  of  the 
choir.  The  variety  just  considered  is  distinguished  by 
a rectangular  choir,  having  a semicircular  apse  at  its 
extremity.  Modifications  in  this  variety  were  effected 
by  adding  to  the  transepts  one  or  several  apses  (Fig.  67,  a). 
The  high  altar  was  in  the  front  of  the  choir.  Other 
altars  were  placed  in  the  apses  of  the  transepts.  These 


g6 


Ecclesiastical  Architecture. 


changes  are  abiding  witnesses  to  a more  complex  wor- 
ship, where,  not  God  alone,  but  saints  were  invoked.  A 
very  important  modification,  producing  a new  variety, 
is  to  be  noticed  in  Fig.  67,  b . The  aisles  pass  across 
the  transepts,  and  are  continued  along  the  length  of  the 
choir.  Access  to  the  crypt  from  the  side  of  the  choir, 


Fig.  67. 


[a)  CATHEDRAL  AT  PARMA.  :b)  ABBEY  CHURCH,  KONIGS- 

LUTTER. 


perhaps,  led  to  this  change  at  first.  Apses  for  altars 
were  placed  at  the  extremities  of  these  extended  aisles, 
and  apses  were  also  placed  in  the  transepts.  It  was  not 
uncommon  to  have  the  choir  raised  above  the  nave  of 
the  church  (Fig.  67,  a),  because  of  the  vaulted  crypt  be- 
neath. A glance  at  these  plans  clearly  shows  that  the 
whole  edifice  is  but  the  environment  for  the  central  cross. 


Romanesque  Style. 


97 


§ Polygonal  and  Circular  Choirs.  A striking  va- 
riety had  this  remarkable  modification  : Instead  of  the 
side-aisles  terminating  along  the  side  of  the  choir,  they 
were  continued  until  they  met  (Fig.  68),  and  in  this 
manner  a choir-aisle  was  formed.  The  general  rule  was 

Fig.  68. 


to  make  the  exterior  of  the  choir  circular  (Fig.  68,  b)  ; 
but  there  are  occasional  instances  where  both  choir  and 
the  exterior  wall  are  polygonal  (Fig.  68,  a).  These  va- 
rieties of  the  Romanesque  style  which  have  choir-aisles 
afford  several  great  advantages.  There  is  a more  per- 
fect correspondence  of  the  exterior  with  the  interior. 
The  nave  and  choir,  which  are  the  places  for  the  laity  and 
the  clergy,  are  brought  into  greater  harmony,  so  far,  at 
least,  that  both  are  surrounded  by  aisles.  There  were 
secured,  architecturally,  great  gains  in  this  variety. 
Open  arcades  made  the  interior  view  of  the  choir  similar 

7 


98 


Ecclesiastical  Architecture. 


to  that  of  the  nave,  and  through  their  arched  openings 
the  worshipers  looked  and  saw  the  wondrous  forms  and 
colors  in  the  windows  of  the  eastern  wall,  and  it  seemed 
as  if  another  world,  beautiful  and  mysterious,  sur- 
rounded the  church.  Chapels  were  arranged  around  the 
choir-aisle,  and  a walk  about  the  choir  was  associated 
with  the  worship  of  those  saints  whom  the  Church  had 
canonized,  or  with  the  grateful  remembrance  of  those 
benefactors  whose  gifts  enabled  the  builders  to  construct 
the  beautiful  edifice. 

§ Sporadic  Forms.  The  ground-plans,  which  we 
have  considered,  show  clearly  the  L,atin  cross  within. 

Fig.  69. 


(a)  CATHEDRAL,  AT  TOURNAY.  [b)  CATHEDRAE  AT  BOMBERG. 

They  also  exhibit  the  modifications  about  and  around 
the  choir.  There  were,  however,  two  departures  which 


Romanesque  Style. 


99 


should  be  considered  before  entering  upon  the  study  of 
the  elevation  of  the  Romanesque  church.  Fig.  69,  a , 
shows  where  the  transepts  were  moved  to  the  middle  of 
the  church.  This  modification  was  sporadic,  in  imita- 
tion of  Byzantine  basilicas,  and  had  little  general  favor. 
The  church  with  the  double  choir  is  seen  in  Fig.  69,  b. 
Yet  the  church  type  is  retained,  the  western  choir  in 
no  ways  obscuring  the  cruciform  plan;  for  the  nave  of 
the  church  terminates  toward  the  west  at  the  steps  of 
the  western  choir,  and  makes,  with  the  transepts  and 
the  eastern  choir,  the  L,atin  cross. 

§ Elevation  of  the  Romanesque  Church.  The  ele- 
vation of  the  church  and  its  roofing  was  accomplished 
in  the  following  manner : Tofty  pier-columns  (Fig.  70) 
were  set  at  intervals  along  the  nave  and  connected 
with  arches ; pier-columns  were  erected  along  the  choir 
and  transepts  and  given  the  height  of  the  nave-piers. 
Walls,  one-half  the  height 
of  the  nave,  were  built 
parallel  to  the  nave-piers, 
leaving  aisles;  and  often 
similar  walls  were  built 
about  the  choir.  The 
elevation  of  the  church, 
so  far  as  the  structural 
principles  are  involved,  is 
complete  when  a ceiling 
is  built  over  the  nave, 
choir,  transepts,  and 
aisles,  and  when,  a gable- 
roof  covers  the  nave, 
transepts,  and  choir,  and  transverse  action. 

shed-roofs  cover  all  the  aisles.  The  ceiling  beneath  this 
roofing  might  be  either  flat,  cylindrical,  or  vaulted. 


Fig.  70. 


IOO 


Ecclesiastical  Architeci  ure. 


Fig.  71. 


§ Buttressing  of  the  Nave=walls.  The  architects  of 
the  Romanesque  style  strove  to  attain  as  great  height 
for  the  nave  as  was  possible  after  the  structural  prin- 
ciples of  their  edifices  were  tested.  There  resulted, 
in  consequence,  two  modes  of  buttressing  this  nave : 
one  was  to  elevate  the  side-walls  (Fig.  71),  and  place 

the  aisles  and 
the  nave  under 
one  gable-roof. 
There  was  adopt- 
ed in  the  tran- 
sitional Roman- 
esque another 
mode  of  construc- 
tion for  strength- 
ening this  high 
nave-wall.  It 
may  be  illustrated 
in  this  way : If 
the  upper  portion 
of  the  elevated 
aisle-walls  and 
the  roof  over  the 
aisles  be  cut  away, 

there  will  remain  half-arches  abutting  against  the  nave. 
Place  now  a shed-roof  beneath  these  half-arches,  and 
there  results  the  elevated  nave  with  flying  buttress. 


SECTION  NOTRE  DAME  DU  PORT. 


§ Romanesque  Ornamental  Forms.  The  columns 
of  the  Romanesque  church  show  great  variety  in 
form  as  well  as  in  enrichment.  The  single  column 
was  circular  or  polygonal,  (Fig.  72,  1,  2,  4.,  5,  6) ; 
the  clustered  column  consisted  of  four  or  more  col- 
umns, (7,  8).  Arcades  were  found  in  the  windows 
(18,  19),  or  on  the  walls  (77).  Surfaces  were  enriched 


ROMANESQUE  ORNAMENTAL  FORMS. 


Romanesque  Style. 


ioi 


Fig.  72 


102 


Ecclesiastical  Architecture. 


Fig.  73. 


with  rosettes  and  other  artistic  designs.  Those  circular 
windows,  which  often  pierced  the  walls  of  a Latin  basil- 
ica, became  trans- 
formed (Fig.  73) 
as  soon  as  used 
in  the  Roman- 
esque church. 
The  window- 
opening was  filled 
with  spokes,  as 
of  a wheel,  and 
the  intervening 
spaces  assumed 
shapes  like  foli- 
ated forms.  This 
change  took  place 
because  this  cir- 
cular window  was 
used  mainly  as  an 
ornament ; and  it  is  the  forerunner  of  those  rose-win- 
dows, which  give  their  colored  magnificence  and  beauty 
to  the  Gothic  cathedral. 


THE  WHEEL-WINDOW. 


§ Types  of  Exteriors.  The  exterior  aspect  of  the 
Romanesque  building  may  be  reduced  to  four  general 
types,  according  to  the  use  of  the  tower.  One  type 
(Fig.  74)  is  where  there  is  a tower  over  the  cross- 
ing ; another  is  where  there  are  one  or  two  towers  at 
the  western  fa?ade ; a third  type  is  where  there  are 
towers  at  the  western  front  and  one  over  the  crossing ; 
a fourth  type  has  a double  transept  and  central  tower 
and  two  western  towers.  These,  all  except  the  fourth, 
are  normal  types.  There  are  a few  instances  where 
there  are  four  towers,  two  at  the  western  front  and  two 
at  the  corners  of  the  choir,  and  no  transepts.  Yet  such 


Romanesque  Style. 


103 


edifices  are  to  be  classed  with  those  which  have  two 
towers  at  the  west  and  no  transept.  All  these  exemplify  . 
the  type,  but  have  certain  parts  wanting,  and  so  are  in- 
complete. Romanesque  churches  are  structures  which 
impress  one  as  enduring  because  of  the  strength  of  their 


naves,  well-buttressed  on  every  side,  and  because  of  their 
mighty  towers.  They  charm  us  because  of  their  sim- 
plicity of  structure  and  freshness  of  adornment.  When, 
moreover,  they  began  to  assume,  in  the  perfected  style, 
the  beauty  of  graceful  forms  in  arch  and  column,  and  to 
be  embellished  with  almost  inexhaustible  variety  of  or- 
namentation, they  excite  our  highest  admiration  ; for 
they  are  structures  endowed  with  strength  and  mantled 
with  beauty.  Therefore  they  become  fitting  symbols  of 
the  religion  of  the  cross,  whose  manifestation  in  human 
life  is  through  strength  and  beauty  of  character,  present- 
ing a new  type  of  manhood,  simple,  strong,  and  abound- 
ing in  the  graces  of  charity. 


Fig.  74. 


ELEVATIONS  OF  ROMANESQUE  CHURCHES. 


104 


Ecclesiastical  Architecture. 


Fig.  75. 


B.  EARLY  ROMANESQUE,  1000=1100. 

§ Constructive  Proportions.  The  mason,  as  he 
builds,  will  be  our  best  guide  in  comprehending  the  in- 
forming thought  of  the  architect  in  the  Romanesque 
edifice.  The  crossing  is  central  and  the  unit  of  measure 
in  the  ground-plan  of  the  Romanesque  church.  One 
similar  square,  on  the  east  side,  is  the  choir;  one  such 
square  on  the  north  side,  and  one  on 
the  south  side  of  the  crossing,  form 
the  transepts ; three  or  more,  on  the 
west  side,  make  the  nave.  At  the 
corners  of  these  squares,  along  the 
nave  (Fig.  75),  great  square  pillars 
are  placed ; walls  are  built  about  the 
choir  and  the  transepts  of  the  height 
of  the  nave,  and  also  walls  on  each 
side  of  the  nave,  usually  at  a distance 
of  half  the  breadth  of  the  nave,  and 
with  half  the  height  of  the  nave.  The 
transepts  and  choir,  with  the  nave, 
give  within  the  form  of  the  Tatin 
cross ; and,  as  these  three  parts  of  the  church  have  the 
same  elevation,  the  exterior  is  also  cruciform. 


PL,AN  OF  CHURCH 
AT  ROSHEIM. 


§ Compared  with  Earlier  Styles.  Omitting  the 
square  of  the  choir,  the  plan  becomes  that  of  the  ancient 
basilicas ; omitting  all  but  one  of  the  squares  on  the 
west  of  the  crossing,  and  the  plan  is  the  same  as  that  of 
the  Byzantine  basilica;  and  often  it  will  be  found  that  the 
constructive  principles  at  the  crossing  and  in  the  nave 
are  the  same  as  those  of  the  Byzantine  style.  The  mass- 
ive square  piers  of  the  nave  (Fig.  75)  are  built  almost 
roof-high.  Then  great  arches  are  set  upon  these  piers 
along  the  nave;  and  transverse  arches  across  the  nave 
if  the  cross-vault  is  employed  over  the  nave.  Then  the 


Romanesque  Style. 


105 


arch  system  of  each  square  in  the  Romanesque  church  is 
like  the  arch-system  which  supports  the  great  dome  of 
St.  Sophia.  Another  resemblance  to  the  Byzantine  style 
is  present  in  the  Romanesque  style : the  spaces  between 
the  piers  of  the  nave  are  filled  in  after  the  manner  of 
St.  Sophia  (vide  Fig.  56),  that  is,  by  arcades  upon  col- 
umns. Here  ends  the  obligation  of  the  Romanesque 
style  to  the  Byzantine.  From  here  on  the  two  styles 
are  divergent. 

§ Division  into  Periods.  The  same  structural  prin- 
ciples are  present  in  the  buildings  of  the  early  Roman- 
esque and  of  the  perfected  Romanesque  periods.  The 
ground  of  difference  is  to  be  found  elsewhere  than  in 
structure.  Nor  can  the  distinction  be  maintained  upon 
the  kind  of  ceiling  above  the  nave,  since  the  flat,  cylin- 
drical, and  cross-vaulted  ceilings  are  common  to  both. 
It  is  true,  however,  that  the  flat  ceiling  is  more  common 
in  the  early  period.  Nor  is  there  any  differentiating 
appearance  in  the  form  of  the  structures  as  seen  from 
without.  Yet  a group  of  buildings  have  resemblances 
which  set  them  apart  as  early  Romanesque,  and  another, 
as  perfected  Romanesque.  The  earlier  buildings  have 
not  so  great  luxuriance  in  ornamentation  ; the  various 
parts  are  not  as  harmoniously  ordered  together  in  the 
construction.  There  is  traceable  a gradual  development 
in  the  piers,  so  that  vault-mouldings  and  pier-mould- 
ings are  in  reciprocal  relations.  The  towers  become 
more  and  more  organically  connected  with  the  nave  and 
aisles.  Yet  it  is  not  to  be  supposed  that  all  later  Ro- 
manesque buildings  have  the  characteristics  of  the  per- 
fected style  ; for,  where  architects  were  not  progressive, 
buildings,  although  built  when  the  Romanesque  style 
had  become  perfected,  might  yet  resemble  those  of  the 
early  period. 


io6 


Ecclesiastical  Architecture. 


§ Flat  Ceiling.  The  nave  with  the  flat  ceiling  (Fig. 
76)  belongs  to  the  early  Romanesque.  It  is  to  be  noticed 

that  the  nave- 
moulding on  the 
piers  extends  to 
the  ceiling.  Also, 
all  these  mould- 
ings are  the  same 
on  each  pier.  The 
breadth  of  the 
transept  is  indi- 
cated by  the 
round  columns 
at  the  choir.  The 
nave  terminates 
at  the  crossing 
with  a moulded 
square  column. 
The  secret  of  the 
structure  is  re- 
vealed clearly:  a 
series  of  square 
pillars,  extending 
to  the  ceiling, 
and  filled  in  with 
arches,  consti- 
tutes the  inclos- 
ure of  the  nave 
upon  its  sides. 
The  chess-board 

NAVE  OF  ST.  AEBANS  ABBEY  CHURCH.  , , . 

ornament  embel- 
lishes the  archivolts.  This  nave  is  simple,  massive,  and 
lofty.  The  position  of  the  pulpit  in  the  nave,  apart 
from  the  choir  and  connected  with  a nave-pier,  marks  a 
most  significant  change  in  the  conduct  of  worship  as 


Romanesque  Style. 


107 


compared  with  the  ambones  of  the  earlier  basilicas ; for 
the  ambones  were  a part  of  the  lower  choir. 

§ Cylindrical  Ceiling.  The  nave  with  the  cylindrical 
ceiling  (Fig.  77)  has  the  principal  piers  indicated  by  a 

Fig.  77. 


NAVE  OF  NOTRE  DAME  DU  PORT. 


moulding,  which  extends  above  the  height  of  the  arches 
of  the  nave.  There  are  two  subordinate  piers  between 
the  principal  ones.  The  transverse  arches,  pierced  by 


io8 


Ecclesiastical  Architecture. 


windows,  designate  the  crossing.  The  principal  piers  at 
the  crossing  have  the  same  front  moulding  as  the  prin- 
cipal piers  in  the  nave.  It  is  in  this  way  that  the 
squares  in  the  plan  of  the  nave  are  made  apparent. 
Further,  ornamentations  like  capitals  are  carved  upon 
the  mouldings  of  the  piers.  And  there  is  a simple  and 
chaste  beauty  in  the  arcades  of  the  nave  and  the  arcade 
windows  above,  which  is  most  pleasing  to  the  observer. 
This  nave  also  is  simple,  massive,  lofty.  It  is,  more- 
over, very  much  more  attractive  than  the  nave  with  the 
hat  ceiling.  The  church,  which  is  Notre  Dame  du  Port, 
at  Clermont,  has  a choir-aisle.  It  is  interesting  to  note 
that  the  arcades  in  the  choir  rest  upon  lofty  and  beauti- 
ful columns,  and  they  support  the  half-dome  of  the  apse, 
which  is  pierced  with  a circle  of  windows.  When  the 
sunlight  touches  the  windows  in  the  eastern  walls  and 
lights  up  their  colors,  then,  beyond  the  choir,  seen 
through  its  arches  and  windows,  there  is  a splendor  of 
color  such  as  the  sun,  at  its  parting,  often  gives  to 
clouds  in  the  western  sky. 

§ Cross=vaulted  Ceiling.  The  nave  with  the  cross- 
vaulting (Fig.  78)  is  constructed  in  the  following  man- 
ner : At  the  corners  of  the  squares,  in  the  ground-plan  of 
the  nave,  pillars  are  built,  and  arches  are  set  upon  these 
lengthwise  with  the  nave,  and  also  arches  crosswise.  And 
cross-vaults  are  then  built  upon  these  arches.  Another 
series  of  squares,  vaulted  in  this  manner,  makes  the 
transepts  and  the  choir.  This  vaulted  construction  is 
the  cruciform  church ; herein  is  all  worship  performed. 
These  piers,  which  support  the  arches  of  the  vaulting, 
are  moulded.  The  appearance  of  this  moulding  is  that 
of  one  column  set  above  another.  Between  these  prin- 
cipal pillars  one  of  the  same  form  and  size  is  placed,  in 
order  to  sustain  the  arches,  which  are  used  to  fill  in  the 


Romanesque  Style. 


109 


nave  compartment.  These  secondary  pillars  are  not  so 
richly  moulded.  The  upper  arcades  are  cumbersome, 
but  massive,  having  strength,  but  lacking  in  grace. 


Fig.  78. 


NAVE  OF  THE  CATHEDRAE  OF  SPIRES. 

§The  Early  Romanesque  Interior.  This  stern,  solid, 
cross-vaulted,  cruciform  church,  impressive  through  the 
imposing  height  of  its  nave,  belongs  to  the  early  Roman- 
esque period.  Walks  were  made  around  this  cruciform 
church  having  half  the  width  of  the  nave.  Outer  walls 


no 


Ecclesiastical  Architecture . 


were  built  along  these  side  paths,  and  were  pierced  with 
windows  at  points  corresponding  to  the  spaces  between 
the  nave -piers.  These  aisles  were  usually  vaulted.  The 
vast  significance  of  the  Romanesque  church  from  within 
may  now  be  understood  if  we  take  our  stand  at  the 
crossing.  The  windows  of  the  transepts  flood  the  cross- 
ing with  light ; the  choir,  through  its  windows,  sends 
unobstructed  light  down  the  nave,  while  from  the  aisles 
between  the  great  piers  come  bands  of  light,  which  alter- 
nate, with  the  shadows  of  these  great  piers,  across  the 
nave.  A cross  of  light,  in  places  touched  with  shadow, 
is  the  Romanesque  church  as  viewed  from  the  crossing. 

§ Cruciform  Exterior.  Form,  not  finish,  occupied 
the  thoughts  of  the  architects  in  the  early  Romanesque. 
They  developed  the  type,  retaining  its  characteristics  in 
all  varieties  ; they  left  it  to  their  followers  to  perfect  the 
form  and  give  to  the  structure  its  beauty  through  appro- 
priate adornment.  The  interior  of  the  early  Roman- 
esque church  was  constructed  so  as  to  keep  in  full  view, 
when  seen  from  the  crossing,  its  cruciform  plan.  The  ex- 
terior was  moulded  by  the  inspiring  thought  of  the  inte- 
rior, so  that  to  the  observer  without,  the  edifice  is  a cross. 
Gable-roofs  were  set  over  the  ceilings  of  the  choir  and 
nave,  making  the  long  arm  of  the  cross;  and  gable-roofs 
over  the  ceilings  of  the  transepts,  making  the  shorter 
arm.  Shed-roofs  were  built  above  the  ceilings  of  the 
aisles  and  abutting  onto  the  nave.  The  simplest  form 
of  the  exterior  is  seen  in  Fig.  79.  The  lofty  clerestory 
of  the  church  is  pierced  with  many  windows,  and  so  the 
nave,  choir,  and  transepts,  or  the  church  proper,  is  filled 
with  light.  There  is,  above  the  crossing,  a small  cupola, 
hardly  prophetic  of  the  marvels  of  beauty  which  ap- 
peared here  in  the  succeeding  period  of  the  Romanesque 
style.  The  two-storied  buildings  about  the  choir,  or  the 


Romanesque  Style. 


iii 


eastern  end,  were  the  conventual  dwellings.  Here  the 
brotherhood  lived,  guardians  of  the  church.  The  edi- 


Fig.  79. 


CISTERCIAN  CHURCH,  AT  RIDDAGSHAUSEN. 


fice  is  simple,  without  external  ornament ; lofty,  and  so 
impressive  ; symbolical,  being  a most  noble  elevation  of 
the  cross. 


§ Type  with  Central  Tower.  The  Tatin  basilica  has 
before  the  altar  the  triumphal  arch,  sign  that  the  author- 
ities of  the  Church  and  the  State  were  united  ; the  By- 
zantine basilica  has  above  the  crossing  the  glorious 
dome,  sign  that  the  greatest  splendor  of  the  building 
now  extended  over  the  nave,  where  the  believers  sat. 
A new  sign  was  raised  above  the  crossing  of  the  Roman- 
esque church.  The  choir,  the  seat  of  the  clergy,  was 
separated  from  the  nave,  the  place  of  the  laity,  by  the 
transept-arms.  The  crossing  was  the  place  where  choir 


112 


Ecclesiastical  Architecture. 


and  nave  met,  and  above  it  rose  the  tower,  symbol  of 
strength  through  the  union  of  the  worshiping  priests 
and  people.  The  tower,  like  the  Byzantine  dome,  rested 
on  powerful  arches.  The  Romanesque  church  with  the 

The  mural  embellish- 
ment of  the  early 
Romanesque  is  to  be 
noticed.  The  string- 
courses and  the  gables 
have  beneath  them 
the  arch-moulding.  A 
kind  of  blind  arcade 
divides  the  facade  into 
compartments,  and,  as 
if  to  instruct  us  that 
the  arcade  is  in  the 
mind  of  the  architect, 
there  is  placed  a most 
complete  arcade  un- 
der the  two  smaller 
gables.  The  Latin 
basilica  had  employed 
this  mode  of  mural 
decoration.  It  is  also 
to  be  noticed  that  the 
door,  leading  into  the 
nave,  is  within  the  tripartite  opening  in  the  western 
facade.  Hence,  we  see  that  now  the  western  end,  like 
the  eastern,  has  its  own  distinctive  completion.  The 
ardica  of  the  Latin  basilica  is  developed  in  the  early 
Romanesque  into  this  western  front.  There  are  three 
parts  to  this  facade  : the  central  division,  before  the 
nave,  and  the  side  divisions,  constructed  out  of  two 
square  towers,  one  before  each  aisle.  Each  division  has 
its  gable-roof.  The  side  divisions  have  also  small  turrets 


central  tower  is  seen  in  Fig.  80. 

Fig.  80. 


CHURCH  AT  MAUERSMUNSTER. 


Romanesque  Style. 


113 

above.  This  facade  has  in  it  all  the  essential  elements 
required  in  order  to  develop  the  wonderful  towers  of 
the  perfected  Romanesque  church  and  the  marvelous 
spires  of  the  Gothic  cathedral.  The  impression  of  this 
western  front  is  most  attractive,  but  there  is  lacking  that 
pleasing  recognition  of  the  daring  genius  of  man,  which 
ever  is  made  when  the  eye  ranges  upward  along  a tower’s 
front  until  high  altitude  is  reached. 

§ Type  with  Western  Towers.  The  Romanesque 
church  was  an  architectural  style  originated  by  the 
priesthood  and  paid  for  out  of  their  enormous  wealth. 
The  clergy  in  this  period  were  the  protectors  of  the 
people  against  the  usurpations  of  the  feudal  lords.  The 
vast  importance  of  believers  in  the  view  of  the  Chris- 
tian Church  was  manifested  in  this  building  of  the 
clergy,  for  new  splendor  was  given  to  the  western  front, 
where  the  people  entered.  When  princes  became  allied 
with  the  people,  in  order  to  save  the  State  from  the 
domination  of  the  priesthood,  a witness  to  this  change 
found  expression  in  the  fuller  development  of  the  west- 
ern fa£ade.  Where  turrets  had  been,  towers  were  raised, 
signs  of  the  might  of  the  prince  and  the  people.  The 
western  facade,  as  thus  transformed,  is  as  novel  in  its  as- 
piring height  as  the  idea  of  the  sovereign  right  of  rul- 
ers was  unwelcome  to  the  Popes  of  Rome.  The  Church 
of  the  Holy  Trinity  at  Caen  (Fig.  81),  presents  to  the 
eye_a  western  facade  with  these  lofty  towers.  Observe 
the  mighty  buttresses  below.  But  the  tower’s  height 
and  its  embellishment  occupied  chiefly  the  thought  of 
the  architect.  Story  was  raised  above  story,  each  with 
its  own  distinctive  decoration.  The  top  of  the  tower 
was  crowned  later,  perhaps,  with  a spire  or  a group  of 
spires.  The  daring  height  of  the  tower  was  its  chiefest 
splendor  in  the  early  Romanesque  period ; yet,  as  the 


114  Ecclesiastical  Architecture. 

eye  ranged  upward  along  its  surface,  the  tower  became 
more  and  more  beautified.  The  transalpine  nations 

loved  the  lofty 
grandeur  of  the 
towers  of  their 
churches.  Some 
element  seemed 
embodied  in  them 
kindred  to  that 
new  aspiration 
within  the  soul, 
which  Christian- 
ity planted  and 
caused  to  grow, 
and  which  lifted 
them  above  the 
barbarism  of  their 
forefathers,  en- 
larged their  intel- 
lectual  horizon, 
and  led  them  to 
establish  govern- 
ments  which 
were  independ- 

HOPY  TRINITY,  AT  CApN.  . 

ent  of  the  domina- 
tion of  a priesthood,  and  which  have  braved  a thousand 
storms.  The  Romanesque  type,  unmodified  except  for 
its  enrichment  through  more  striking  proportions  and 
decorations,  is  an  abiding  type  ; for  the  edifice  is  churchly 
in  all  its  parts,  and  suggests  by  its  form,  within  and  with- 
out, the  great  symbol  of  the  Christian  religion. 

§ Type  with  Eastern  and  Western  Towers.  These 
edifices  have  two  choirs,  the  principal  one  at  the  east, 
and  a secondary  choir  at  the  west.  The  Abbey  Church 


Fig.  81. 


Romanesque  Style. 


115 


at  Iyaacli  (Fig.  82)  is  one  of  the  earliest  examples  of 
this  variation.  Until  imitation  becomes  the  guide,  the 
great  features  in  an  imposing  edifice  are  but  embodi- 
ments, expressive  of  sympathy  with,  or  antagonism  to, 
dominating  thoughts  in  the  body  politic.  Such  we  have 


Fig.  82. 


ABBEY  CHURCH,  AT  EAACH. 


found  to  be  the  case  when  the  towers  at  the  west  of  the 
church  were  completed,  not  by  small  turrets,  but  by 
spires.  The  struggle  between  the  Church  and  the  State 
was  a contest  between  gigantic  powers,  and  naturally 
the  clergy  sought  to  remove  associations  with  any  parts 
of  the  church  edifice,  reminding  all  that  the  victory  at 
times  was  with  the  rulers  of  the  people  in  this  con- 
flict. At  least  the  new  use  of  towers  in  the  Abbey 
Church  at  Uaach  seems  to  aim  at  the  removal  of  any 


xi6  Ecclesiastical  Architecture. 

new  and  significant  associations  connected  with  the 
western  facade.  The  eastern  choir  and  principal  one 
has  before  it,  and  above  the  crossing,  a beautiful  octag- 


Fiq.  83. 


onal  tower;  and  there  is  at  the  western  front  a choir, 
above  which  is  a central  tower  of  different  shape,  yet  at- 
tractive. Towers  were  set  at  the  corners  of  the  western 


Romanesque  Style. 


117 


facade,  and  in  the  eastern  angles  of  the  transepts.  If 
the  tower  imports  to  the  mind  the  idea  of  strength,  then 
the  use  of  towers  in  this  church  declares  that  strength 
is  to  be  found  near  the  altar ; for  the  eastern  towers 
are  mighty,  while  those  near  the  entrance,  away  from 
the  altar,  are  mere  ornaments.  The  western  entrance 
was  also  associated  with  the  clergy  by  the  presence  of  a 
western  choir. 

§ Typical  Romanesque  Church.  Transepts  at  the 
east  and  towers  at  the  west  (Fig.  83)  make  the  com- 
pleted type  of  the  early  Romanesque  church.  There  is  a 
simplicity  in  the  structure,  a chasteness  in  its  few  mural 
decorations,  a charm  in  the  circular  form  of  its  apses,  a 
symbolism  in  the  cruciform  shape  behind  the  massive 
and  lofty  towers,  that  fit  this  edifice  to  express,  with  pe- 
culiar appropriateness,  the  genius  and  the  transforming 
power  of  Christianity.  This  early  Romanesque  church, 
unmodified,  has  become  an  abiding  type  in  ecclesias- 
tical architecture. 

C.  PERFECTED  ROMANESQUE,  1100=1200. 

§ Distinguishing  Characteristics.  The  system  of 
cross-vaulting  is  certainly  most  common  in  the  churches 
of  this  second  period.  The  cross-vault  over  the  nave 
made  the  building  seem  compactly  joined  together,  and 
practically  resulted  in  making  stone  as  pliable  and  more 
suitable  for  constructive  purposes  than  wood.  A further 
benefit  came  from  this  system  of  vaulting.  It  gave  to  the 
nave,  through  the  ribs  of  the  vaults,  the  appearance  of  a 
lofty  vista,  such  as  one  sees  when  the  branches  of  great 
trees  meet  over  some  forest  highway.  The  vaulted  nave 
of  the  Perfected  Romanesque  was  the  true  forerunner  of 
the  Gothic  nave.  It  is  not  the  cross-vault  over  the  nave 
that  distinguishes  the  perfected  Romanesque  building. 


n8 


Ecclesiastical  Architecture. 


Rather,  the  distinctive  signs  will  be  found  in  a more 
symmetrical  development  of  the  interior  and  exterior 
characteristic  features  of  the  Romanesque  style ; also,  in 
a more  elaborate  ornamentation  of  the  edifice. 


§ Flat  Ceiling.  The  nave-bay  (Fig.  84)  shows  the 
greater  artistic  excellence  in  this  period.  The  nave- 

arches  are  high,  and. 

Fig.  84.  . 6 ’ 

in  consequence,  there 

are  no  gallery -arcades 
above  them.  The 
clerestory  is  built 
upon  this  high  arcade 
of  the  nave,  and  the 
beams  of  the  roof  are 
placed  upon  this  wall. 
The  whole  arrange- 
ment of  this  bay  is 
most  pleasing.  The 
beautiful  columns,  the 
piers  of  masonry  upon 
them,  ornamented 
with  the  richly-robed 
figures  of  Popes;  the 
arches,  resting  on 
these  ornamented 
piers,  and  their  span- 
drels beautified  with 
pictured  story ; the 
wall-spaces  also  of  the 
clerestory  presenting, 
likewise,  in  symbols 
what  saints  had 


CHAPEL,  AT  PALERMO. 


wrought  or  suffered, — all  combined  to  make  a scenic  dis- 
play of  sacred  history,  not  unlike  that  found  on  tho 


Romanesque  Style. 


119 

walls  of  the  L,atin  basilica.  But  the  lofty  arcades,  the 
greater  light  from  the  side-aisles,  the  graceful  symmetry 
and  harmony  of  all  parts,  make  evident  the  new  style  as 
compared  with  the  basilican ; and,  when  we  compare 
the  plain,  solid  features  in  the  nave  with  the  flat  ceiling 
belonging  to  the  early  Romanesque  period,  these  same 
artistic  beauties  discriminate  between  the  early  and  the 
perfected  periods  of  the  same  style. 

§ The  Cylindrical  Ceiling.  The  example  chosen  to 
represent  the  advance  of  the  perfected  style  in  the  cylin- 
drical ceiling  (Fig.  85) 
has  not  the  elegance 
which  the  correspond- 
ing example  of  early 
Romanesque  (vide  Fig. 

76)  possesses;  yet 
there  is  discernible  a 
greater  progress  in  or- 
g a n i c construction. 

First  the  high  piers 
supporting  the  longi- 
tudinal and  the  trans- 
verse  arches  of  the 
nave  are  indicated  by 
columnar  moulding 
extending  to  the  spring 
of  the  tranverse  arch. 

The  method  of  filling 
in  the  spaces  between 
these  piers  is  clearly 
shown  by  mouldings 
on  the  piers.  The  gallery  is  made  to  harmonize  with 
the  construction  below,  but  the  mouldings  are  lighter. 
The  arches  across  the  nave  are  visible  on  the  ceiling. 


Fig.  85. 


NAVE  OF  CATHEDRAE  OF  SANTIAGO 
DE  COMPOSTEEEA. 


120 


Ecclesiastical  Architecture. 


The  uniformity  in  the  type  of  the  piers  along  the  nave, 
and  the  similarity  in  each  nave-bay,  combine  to  give 
the  impression  that,  as  compared  with  the  earlier  period, 
this  cylindrically-vaulted  nave  of  the  perfected  Roman- 
esque style  is  a more  perfect  organic  structure. 

§ Crosssvaulted  Ceiling.  The  most  signal  triumph 
of  genius,  as  displayed  in  the  interior  of  a Romanesque 

church,  was  ac- 
complished when 
the  architects  of 
the  perfected  Ro- 
manesque style 
produced  a nave 
in  which  all  the 
parts  were  organ- 
ically constructed 
together  and  made 
beautiful  by  the 
glories  of  sculp- 
tured column  and 
arch.  Such  a nave 
is  given  in  Fig.  86. 
Notice,  first,  the 
principal  pier. 
The  base  is,  in 
form,  like  a Greek 
cross ; the  body  of 
the  pier  is  built  on 
the  crossing  of  the 
arms.  The  two 
arms,  extending 
into  the  nave  and  aisle,  support  the  pilasters  on  which 
transverse  arches  are  built ; the  other  arms  carry  the 
support  for  the  longitudinal  arches.  The  mouldings  of 


Romanesque  Style. 


121 


the  pilaster  on  the  nave-side  are  like  tall,  slender  half- 
columns, which  support  transverse  and  diagonal  ribs  for 
the  vaulting.  The  other  mouldings  of  this  nave-pier  in- 
dicate the  different  archivolts  resting  upon  them.  The 
secondary  pier  is  in  marked  contrast  with  the  principal 
one,  and  rightly  so,  since  it  simply  aids  in  filling  in  the 
spaces  between  the  principal  piers.  Yet  this  filling-in  is 
massive,  like  the  work  of  Titans.  The  base  of  this 
secondary  pier  is  a square ; on  it  is  placed  a huge  colum- 
nar pier.  The  normal  round  capital  is  chamfered  off  so 
as  to  indicate,  in  a measure,  the  archivolts  upon  it. 
Thus  the  half-circular  face  of  the  capital  fronting  the 
nave,  marks  the  impact  of  the  outer  archivolt  of  the 
longitudinal  arches.  The  side  circular  face  is  where  the 
inner  archivolt  of  the  longitudinal  arch  springs  from. 
The  third  circular  face  is  between  these  two,  and  is  be- 
neath the  ornamental  archivolts  of  the  longitudinal  arch. 
The  pier  which  supports  the  arches  of  the  gallery  above 
this  secondary  pier  is  polygonal,  and  receives  mould- 
ings suggestive  of  the  archivolts,  which  lean  against  it 
for  support.  Corbel-brackets  furnish  the  rest  for  the 
moulded  diagonal  ribs  of  the  vaulting,  which  are  over 
the  secondary  piers.  The  triple  arcade  in  the  opening 
of  the  cross-vault  makes  a most  beautiful  clerestory. 

§The  Perfected  Romanesque  Nave.  The  strength, 
the  beauty,  and  the  constructive  unity  and  symmetry  of 
this  nave,  combine  to  produce  an  impression  upon  the 
observer  hardly  surpassed  by  the  contemplation  of  any 
interior  wdthin  the  limits  of  ecclesiastical  architecture. 
And  it  may  be  said  that  the  cross-vaulted  nave  of  the 
perfected  Romanesque,  with  its  lofty  piers  and  its  beauti- 
ful sculptured  enrichment,  furnished  all  the  requirements 
for  those  astonishing  architectural  wonders  which  have 
rendered  the  Gothic  nave  of  the  Christian  Church  more 


122 


Ecclesiastical  Architecture. 


impressive  and  more  amazing  than  the  massive  and  tall 
columns  which  made  the  columnar  walk  to  the  adytum 
of  an  Egyptian  temple.  Indeed,  the  sculptured  beauty 
of  a Grecian  temple  is  the  only  worthy  compeer  of  that 
beauty  and  grace  which  adorn  this  Romanesque  nave, 
that  noble  highway  before  God’s  high  altar  in  the  Chris- 
tian cathedral. 

§ Exterior  Beautified.  The  exterior  of  the  Roman- 
esque church  in  the  period  of  the  perfected  style  at- 
tracted, likewise,  the  genius  of  the  architect,  and  under 
the  wizard  touch  of  his  hand  became  transformed  into 
marvels  of  beauty.  The  exterior  typical  form,  which 
is  cruciform,  and  has  a central  tower  above  the  crossing 
and  two  mighty  towers  at  the  west  front,  was  modified 
and  beautified  according  as  the  influence  of  the  Church 
or  of  the  State  was  dominant ; for,  during  this  period, 
religious  and  civil  authorities  were  still  in  a great 
struggle,  striving  to  define  the  rights  and  draw  the  limits 
of  these  two  great  divinely-ordained  authorities  among 
the  people. 

§ Church  with  Western  Towers.  Sometimes  the 
church  at  the  eastern  termination  was  left  without  any  ex- 
terior attraction.  This  is  remarkable,  since  for  centuries 
the  clergy  had  assembled  all  the  splendor  of  the  church 
about  the  choir.  The  early  Romanesque  style  had 
marked  the  position  of  the  choir  by  the  transept-roofs 
and  central  tower.  It  was,  therefore,  no  mere  chance, 
but  a bold  defiance  of  established  custom,  when  a church 
(Fig.  87)  was  built  with  most  commanding  towers  on  the 
west,  and  not  even  the  transept  to  indicate  the  division 
within  of  nave  and  choir.  The  mural  decoration  is  new, 
harmonious,  and  artistic.  Instead  of  long,  narrow,  rec- 
tangular divisions  upon  the  walls,  the  divisions  of  the 


Romanesque  Style. 


123 


towers  and  the  nave  approach  the  square.  Each  com- 
partment of  the  towers  has  its  own  characteristic  orna- 
ment. The  low- 
est has  sculpture ; 
the  north  tower, 
lions;  the  south,  a 
lamb.  The  com- 
partment of  the 
second  story  has 
beautiful  circular 
windows.  Bipar- 
tite windows  of 
different  height 
adorn  the  small- 
er square  c o m - 
partments  of  the 
third  and  fourth 
stories.  Pyra- 
midal roofs  com- 
plete the  towers. 

The  culminating 
beauty  of  the  western  fagade  is  found  at  the  portal.  In 
structure  it  is  a deeply  recessed  porch  or  a deeply  re- 
cessed archway  before  the  door  of  the  church.  Above 
the  arch  is  a circle  of  niches,  each  sheltering  the  statue 
of  a disciple,  excepting  the  central  niche,  which  contains 
the  figure  of  the  Christ.  The  series  of  receding  arcades 
within  the  portal,  rich  in  columns  and  sculptured  archi- 
volts,  give  a new  and  remarkable  beauty  to  the  entrance- 
way into  the  house  of  God. 

§ Church  with  Eastern  and  Western  Towers.  The 

impression  which  this  arrangement  of  towers  makes  is 
that  the  tops  of  towers  are  merely  used  as  ornaments  for 
the  church ; since  the  tall,  slender  bodies  of  the  towers 


Fig.  87. 


CHURCH  OF  ST.  JAK. 


124  Ecclesiastical  Architecture . 

are  completely  shut  out  from  view  (Fig.  88),  hidden,  in 
truth,  in  corners.  This  church  has  erected  at  the  cross- 

Fig.  88. 


DOME  AT  SPIRES. 

ing  an  octagonal  dome.  A remarkable  alteration  in 
the  western  facade  is  to  be  observed.  Every  sugges- 
tion of  a tower  is  banished  from  this  front.  The  struc- 
ture is  like  the  transept  in  appearance,  having  a similar 


Romanesque  Style. 


125 


gable-roof  and  central  dome.  Thus  further  is  empha- 
sized the  hierarchical  thought  that  the  tower  idea,  in 
connection  with  the  church,  is  not  a significant,  but 
rather  an  ornamental  feature  of  the  church.  This  west- 
ern porch  is  the  ardica  of  the  Tatin  basilica,  developed 
into  a beautiful  and  imposing  structure.  Its  front  is 
tripartite,  corresponding  to  the  aisles  and  nave  of  the 
church.  The  side  divisions  are  symmetrical.  The  low- 
est story  has  a deeply-recessed  and  richly  adorned  por- 
tal ; the  middle  story  has  a large  window  with  attractive 
square  stone-framing  about  it;  the  upper  story  has  an 
arcade,  within  whose  arched  niches  statues  of  saints  are 
set.  It  is  the  central  portion  which  is  new  in  its  cluster 
of  beautiful  forms.  The  central  portal  is  deeply  re- 
cessed, magnificent  in  size,  most  striking  in  the  charm 
of  its  adornment.  Five  niches  are  placed  above  the 
archway,  each  holding  an  imposing  statue.  The  division 
above  the  portal  has  a circular  window,  both  large  and 
beautiful ; the  third  story  has  niches  within  arcades,  and 
the  gable  has  the  quatrefoil  opening.  Remove  the  or- 
namental towers  from  this  facade,  build  above  each 
side  division  great  massive  high  towers,  there  would  re- 
sult a church  of  the  perfected  Romanesque  style,  rival- 
ing, not  unsuccessfully,  the  impression  that  comes  to  the 
observer  when  he  beholds  the  imposing  front  of  the 
Gothic  cathedral. 

§ Church  with  Central  Tower.  The  Cathedral  at 

Mainz  has  two  choirs,  the  western  one  being  a later  ad- 
dition. The  ceremonial  worship  of  the  Papal  Church  was 
always  a splendid  spectacle,  finely  adapted  to  impress 
the  popular  mind.  The  enhancement  of  this  influence 
became  increased  by  two  choirs.  Provision  was  made 
by  this  arrangement  for  antiphonal  services,  in  which 
choral  responses  added  their  mysterious  impressiveness. 


126 


Ecclesiastical  Architecture . 


The  choir  of  this  cathedral  (Fig.  89)  will  present  the 
general  features  of  the  perfected  Romanesque,  although 
in  its  external  constructions  there  are  discernible  modi- 
fications which  belong  to  the  transitional  period.  The 
octagonal  form  of  the  choir,  windows  with  deep  recesses, 

and  the  circular 
windows,  are 
readily  re  cog- 
nized as  familiar 
features.  The 
cross-gable  roof 
over  the  choir  is 
new  in  the  style; 
but  the  great 
central  tower, 
called  the  Pas- 
tor’s  Tower, 
chains  to  it  all 
attention.  The 
beautiful  vari- 
ety in  its  main 
stories  adds  to 
its  beauty.  The 
surmounting 
cupola,  a 1 - 
though  modern, 
blends  most  har- 
The  architect  is 
willing  to  let  us  admire  the  charms  of  the  structure  un- 
aided by  himself ; but  he  will  not  permit  us,  without  as- 
sistance, to  estimate  its  size.  The  equestrian  statue  at 
the  crossing  of  the  gables  above  the  choir  is  strangely 
placed ; but  it  is  set  there  as  a measuring-rod,  for  all 
know  the  size  of  a man  upon  horseback.  It  seems  small 
when  elevated  to  this  lofty  pedestal ; but  by  it  we  may 


Fig.  89. 


CHOIR  OF  THK  CATHHDRAF  AT  MAINZ. 

moniously  with  the  whole  structure. 


Romanesque  Style. 


I2J 


measure  the  two  turrets  at  the  eastern  termination  of 
the  choir.  These  small  towers  are  thus  seen  to  have 
considerable  magnitude  when  brought  into  measurement 
by  means  of  this  equestrian  statue.  Yet  these  little 
towers  are  pigmies  compared  'with  the  gigantic  central 
tower.  Externally,  the  greatest  splendor  of  the  edifice 
is  this  Pastor’s  Tower  above  the  crossing.  And  we  feel 
it  is  the  hand  and  masterly  genius  of  the  artists  of  the 
perfected  Romanesque  style,  which  wrought  the  beauty 
of  the  central  tower,  the  charms  of  the  clustered  col- 
umns in  the  transept-windows,  and  of  the  choir-walls 
pierced  with  wheel-windows  and  graceful  arcades.  All 
these  features  blend  in  pleasing  harmony,  making  the 
cathedral  one  of  the  most  important  and  beautiful  mon- 
uments of  the  Romanesque  style. 


D.  ROMANESQUE  TRANSITIONAL  STYLE,  1180=1250. 

§ Constructive  Principles.  The  culmination  of  ec- 
clesiastical architecture  was  reached  in  the  Gothic  style. 
Marvelous  are  the  Gothic  edifices  through  their  sym- 
metry and  grace  of  form  and  the  lovely  beauty  of  their 
ornamentation.  The  transitional  style  of  the  Roman- 
esque Church  is  the  prophetic  anticipation  of  Gothic 
architecture.  The  new  constructive  principles  were  the 
pointed  arch  and  the  buttress.  In  the  transitional  style 
this  form  of  arch  is  employed  for  the  most  part  in  the 
vaulting  and  the  arcades  of  the  nave.  Heretofore  the 
round  arch  had  prevailed  in  Christian  architecture. 
When  the  round  arch  leaped  from  column  to  column, 
supporting  the  unbroken  walls  of  the  nave,  it  gave  the 
constructive  secret  of  the  Christian  basilica.  When  this 
lower  arcade  of  the  nave  was  raised  as  high  as  the  roof, 
and  below  was  filled  in  with  secondary  and  ornamental 
arcades,  then  the  constructive  secret  of  the  Byzantine 


128 


Ecclesiastical  Architecture. 


and  Romanesque  churches  was  discovered.  The  Gothic 
church,  likewise,  placed  its  nave-arches  upon  columns, 
and  built  upon  them  the  triforium  and  clerestory,  or  else 
it  raised  its  piers  roof-high,  and  built  within  them  clere- 
story and  triforium,  using,  however,  everywhere  the 
pointed  in  place  of  the  round  arch.  The  transitional 
style  is  Romanesque  architecture  in  construction  with 
new  effects  obtained  through  the  pointed  arch. 

§ Pointed  Arch  and  Buttress.  The  pointed  arch 
was  employed  subordinately  in  the  transitional  style,  ap- 
pearing in  the  lower  arcades  of  the  nave  and  in  its  vault- 
ing, while  the  windows  and  portals  and  towers  retained 
the  round  arch.  Important  modifications  followed  this 
innovation,  and  so  suggestive  were  these  changes  that 
ultimately  the  Gothic  constructive  system  was  developed, 
which  was  entirely  dependent  upon  the  mechanical  ad- 
vantages of  the  pointed  arch.  The  transitional  style  in- 
troduced also  the  use  of  the  buttress,  yet  only  as  a means 
of  strengthening  a wall,  while  the  distinctive  and  most 
important  use  of  the  buttress  in  the  Gothic  style  was  to 
make  it  the  principal  support  of  the  aisle-piers,  and  the 
wall  was  simply  filling-in  of  spaces  between  these  but- 
tressed piers. 

§ Nave  of  the  Transitional  Style.  All  piers  of  this 
nave  (Fig.  90)  are  principal  ones.  They  reach  to  the 
roof-level.  The  nave-ceiling  is  flat.  The  high-pointed 
arch  in  the  lowest  story  of  the  bay  permits  the  light  to 
come  from  the  side  almost  unobstructed.  A glance 
within  this  bay  will  show  how  thick  the  aisle-wall  was 
made.  The  arcade  of  each  bay  in  the  gallery  has  a cen- 
tral round  arch  with  two  pointed  arches  within.  There 
are  two  pointed  blind  arches  on  each  side  of  this  cen- 
tral round  arch.  The  clerestory  introduces  a beautiful 


Romanesque  Style. 


129 


yet  harmonious  modification.  All  the  arches  are  open, 
thus  letting  light  enter  more  freely ; the  side-arches  of 
the  triple-arched  arcade  are  pointed,  and  in  order  to 
give  the  appearance  of  a continuous  arcade  in  the  clere- 
story, the  upper  part 
of  the  nave-piers  have 
the  mouldings  of  a 
pointed  arch.  It  may 
be  fairly  doubted 
whether  this  substi- 
tution of  the  pointed 
arch  for  the  round 
arch  as  a decorative 
element  is  anything 
more  than  an  incon- 
gruity, an  evidence 
that  the  architects 
were  wrestling  with 
the  problem  of  new 
forms,  desiring  to  cast 
aside  the  old.  The 
beauty  of  the  nave  is 
not  in  its  sculpturing, 
for  there  is  no  splen- 
dor of  capital,  frieze, 
and  cornice.  Simple 
moulding  of  arch  and 
pier,  and  simplest 
capitals  constitute  the  ornamentation.  The  beauty  in 
the  nave  is  in  the  new  form  of  arch  in  contrast  with  the 
old ; for  the  pointed  arch  attains  greater  height  with  the 
same  span  than  the  round  arch,  and,  in  consequence,  the 
masonry  about  the  arch  is  less  heavy,  and  so  the  nave 
looks  less  cumbersome.  It  has  the  beauty  of  promise. 
Gothic  architecture  was  its  fulfillment. 


Fig.  90. 


BAY  OF  RIPON  CATHFDRAL,. 


9 


130 


Ecclesiastical  Architecture. 


§ Choir  with  Buttresses.  The  employment  of  the 
buttress  is  shown  in  Fig.  91.  The  polygonal  choir  is 

buttressed  at  the 
angles.  The 
finish  of  the 
choir  is  Roman- 
esque; the  round 
windows,  the  ar- 
cade beneath  the 
eaves,  the  ar- 
cade-corbel 
tables,  are  all 
familiar.  The 
buttresses  are 
new,  and  antici- 
pate one  of  the 
most  r e m a r li- 
able features  of 
the  exterior  in 
the  Gothic  style. 
In  passing,  at- 
tention may  be 
called  to  the 
crucifix  beneath  the  central  window  of  the  choir,  and 
the  bowl  for  holy  water  against  the  adjacent  buttress, 
evidence  of  that  effort,  in  this  period,  to  inspire  al- 
ways reverence  for  the  great  and  fundamental  doctrine 
of  Christian  teachings,  respecting  the  passion  of  our 
Ford. 

§ Prophecy  of  a New  Era.  The  transitional  style 
indicated  the  entrance  of  a new  spirit  into  ecclesiastical 
architecture.  Old  forms  began  to  yield  under  its  power : 
the  promise  of  a new  era  began  to  dawn.  We  have 
traced  the  influence  of  this  new  force  as  it  modified  the 


Fig.  91, 


CHOIR  OF  CHURCH  AT  PAFFENHEIM. 


R OMA  N ESQ  UE  STYLE.  1 3 1 

nave  and  the  exterior  of  the  choir.  It  had  strength 
only  to  modify,  not  to  reform.  Sometimes  this  new  im- 
pulse exhausted  itself  when  it  had  introduced  the  pointed 
arch  in  the  nave;  at  other  times  it  seemed  to  pervade 
every  part  of  the  edifice,  changing  arches  and  their 
grouping,  shafts  of  columns  and  their  capitals  at  the 
portal,  as  well  as  giving  a new  aspect  to  the  external  ap- 
pearance of  the  whole  building.  This  transitional  style 
of  the  Romanesque  architecture  was  a protest  against 
the  tyranny  of  ancient  forms,  which  had  lost  their  worth 
to  the  people.  These  forms  were  associated  with  the 
priesthood ; they  were  developed  under  the  fostering 
care  of  the  clergy ; all  but  the  towers  witnessed  to  the 
dominance  of  the  priest.  The  people  came  into  spirit- 
ual power,  and  they  changed,  not  alone  the  attitude  of 
the  priest,  but  even  the  outward  appearance  of  the  edi- 
fice in  which  he  officiated.  This  movement  culminated 
in  Gothic  architecture,  being  the  new  spirit  which  had 
entered  into  the  people,  made  manifest  in  stone. 

E.  STRIKING  FEATURES  OF  THE  ROMANESQUE  STYLE. 

§ The  Crypt.  The  nave,  with  its  side-aisles,  the 
transepts,  and  the  choir,  are  the  essentials  in  a Roman- 
esque church  where  the  type  is  unmodified.  The  exten- 
sion of  the  side-aisles  across  the  transepts  and  along  the 
choir  has  been  described ; ultimately  there  was  formed 
in  this  way  a choir-aisle.  The  choir  was  pre-eminently 
for  the  clergy.  There  was  built  beneath  the  choir  of 
many  of  the  larger  churches  crypts,  wherein  were  pre- 
served the  relics  of  saints  or  the  mortal  remains  of  dis- 
tinguished prelates  and  persons  of  princely  rank.  These 
crypts  extended  along  the  choir’s  length,  and  sometimes 
even  beneath  the  crossing.  Entrance  to  them  was  by 
flights  of  steps  along  the  sides  of  the  choir.  Cross- 


132  Ecclesiastical  Architecture. 

vaultings,  resting  upon  pillars  (Fig.  92),  made  the  roof  of 
the  crypt.  The  appointments  of  these  crypts,  having 

usually  three  aisles 
and  an  altar,  made 
them  a kind  of  un- 
derground church. 
The  floor  of  the 
choir  often  became 
raised  in  conse- 
quence of  the 
crypts.  This  ac- 
counts  for  the 
staircases  in  many 
churches  which 
lead  from  the  nave 
to  the  choir.  Gen- 
erally, it  may  be 
said  that  an  ele- 
vated choir  has  be- 
neath it  a crypt. 
The  later  Roman- 
esque churches 
had  in  them  no 
crypts,  because 
chapels,  dedicated  to  saints  or  consecrated  as  the  place 
of  interment  for  either  bishops  or  nobles,  were  arranged 
along  the  aisles  of  the  nave  or  of  the  choir. 

§ The  Nave.  The  impression  which  the  nave  of 
a Romanesque  church  makes  is  entirely  different  from 
that  of  the  Ratin  or  Byzantine  basilica.  An  observer  is 
instantly  aware  of  this  fact.  He  feels  the  sense  of  secur- 
ity when  his  eye  sees  huge  piers  supporting  massive 
arches  to  sustain  the  vaulting  of  the  roof.  He  expe- 
riences the  feeling  of  wonder  when  the  reciprocal  re- 


Fig.  92. 


vaulted  crypt. 


Romanesque  Style . 


i33 


lation  between  the  vault  and  pier  is  discerned,  revealing 
a perfect  organic  construction ; and,  as  soon  as  the  eye 
counts  the  numerous 
kinds  of  marvelous 
enrichment  on  the 
piers  and  arches,  he 
gives  to  what  he  be- 
holds his  fullest  ad- 
miration. The  pier- 
column  (Fig.  93) 
is  seen  to  be  mass- 
ive and  short  as  com- 
pared with  its  thick- 
ness. Great,  heavy 
arches,  to  support  the 
masonry  of  the  gal- 
lery and  clerestory, 
are  set  on  these  pier- 
columns.  Spiral  lines 
twine  around  their 

_ , . NAVE  OF  CHURCH  AT  WALTHAM. 

shafts,  and  zigzag 

lines  adorn  their  archivolts.  Foliage-decoration  found 
but  little  favor  in  the  Romanesque  style.  Endless  va- 
riety in  form  and  in  rich  lineal  designs  combined  to 
give  the  charm  of  ornamentation  to  the  edifice.  As  re- 
gards form,  the  column  and  capitals  are  circular,  polyg- 
onal, or  clustered,  and  are  either  plain  or  decorated; 
windows  are  made  bipartite  or  tripartite  by  inserted 
columns  and  arches  ; portals  are  constructed  with  re- 
ceding series  of  columns  and  arches.  A glance  at  the 
Romanesque  edifice  shows  a gorgeous  array  of  lineal  em- 
bellishment with  which  it  is  adorned.  Scarcely  were 
arabesques  more  characteristic  of  Eastern  mosques  than 
lineal  decoration  was  of  the  Romanesque  style.  The 
luxuriance  in  its  ornamental  forms  fairly  bewilders  one. 


134 


Ecclesiastical  Architecture . 


§ The  Various  Mouldings.  The  fertile  resources  of 
this  style  become  evident  when  the  lineal  ornamentation 
Fig.  94.  is  separated  into  its  varieties. 

The  most  common  are  given 
in  Fig.  94.  Beginning  at  the 
top,  we  see  the  diamond  fret ; 
then,  in  order,  comes  a mould- 
ing that  is  composed  of 
crowned  heads.  Below  these 
are  the  embattled  fret,  the 
nail-head  and  star-moulding, 
the  interlaced  arches,  the 
cable,  the  chevron,  the  chess- 
board moulding,  the  nail  and 
star-moulding,  a form  of  the 
lozenge,  another  variety  of 
the  cable,  the  chain-moulding. 
The  lowest  pattern  is  an 
archivolt  having  the  triangu- 
lar and  the  embossed  frets, 
and,  in  addition  to  these,  the 
billet-moulding  and  those 
with  scallop  patterns,  which 
are  very  common.  These 
forms  of  ornament  were 
wrought  into  symmetrical 
combinations  upon  shaft  and 
archivolt.  The  patient  fidelity 
of  these  builders  astonishes 
us;  they  cease  not  to  labor  un- 
til they  make  beautiful  their 
edifice.  They  did  not  borrow 
from  nature  suggestion  of  leaf 
and  vine ; for,  as  if  disdaining 
ORNAMivNTAi,  patterns,  all  suggestion  from  the  flow- 


Romanesque  Style. 


i35 


ers  of  the  field  and  the  trees  and  vines  of  the  woods, 
they  hold  simply  to  geometrical  forms  and  artistid  de- 
signs. Or,  if  we  insist  that  these  laborers  are  also  imita- 
tive in  the  ornaments  which  they  used,  we  must  go  to  the 
mineral  world  and  find  resemblances  to  their  ornaments 
in  those  beautiful  crystals  which  are  buried  in  the  heart 
of  the  rocks.  Indeed,  where  the  artistic  forms  assume 
the  shape  of  stem  and  leaf,  they  carve  on  the  stalks 
ornaments  of  jewels  having  facet-faces  like  crystalline 
shapes.  In  this  way  we  are  reminded  that  nature,  through 
her  botanical  forms,  contributes  little  or  nothing  to  these 
architects  when  they  seek  to  adorn  their  buildings. 

§Column=shafts  and  Capital.  The  ornamental  col- 
umn, with  its  slender  shaft  and  peculiar  capital,  is  found 
in  the  jambs  of  windows  and  doors  and  in  the  arcades 
of  galleries.  The  capitals  were  a great  departure  from 
the  classical  type.  There  are  three  forms  (Fig.  95)  to  be 


Fig.  95. 


distinguished  : the  cubiform  capital,  in  which  the  lower 
part  of  the  cube  is  rounded  off  and  curved  toward  the 
shaft,  thus  mediating  between  the  curved  surface  of  the 
shaft  and  the  flat  face  of  the  upper  part  of  the  cube; 


136  Ecclesiastical  Architecture. 

tlie  bell-shaped  capital,  in  which  the  neck  is  narrow,  and 
gradually  expands,  bell-like,  into  the  capital  itself.  The 
third  form  is  compound  of  these  two,  the  lower  part 
commencing  as  the  bell-shaped  capital,  but  the  upper 
suddenly  assuming  the  form  of  the  cube.  These  cap- 
itals and  shafts  have  received  various  enrichments. 
Fig.  96  gives  an  example  .showing  how  shaft,  capital, 


Fig.  96. 


CAPITALS  FROM  ST.  PETER,  NORTHAMPTON. 


and  archivolt  have  each  their  own  ornament,  yet  all  are 
made  to  blend  most  harmoniously  together.  Where 
these  masters  of  form  obtained  their  first  suggestions 
must  ever  be  matters  of  speculation.  It  may  be  that 
they  arrived  at  these  forms  of  shaft  and  capital  by  trans- 
forming the  great  types  which  Grecian  and  Roman 
architects  employed  in  their  temples,  or  it  may  be  that 
they  owe  to  Byzantine  art  great  obligation  for  them. 
Whichever  may  be  the  case,  it  is  still  true  that  the  mod- 
ifications which  these  mediaeval  artists  made  in  them 
were  little  short  of  establishing  them  as  new  creations. 


Romanesque  Style. 


i37 


§ Mouldings  of  the  Cross=vaults.  Often  the  ribbed 
arehes  of  the  vaulting  become  the  readiest  means  by 
which  edifices  are  assigned  to  their  period.  Certain,  it  is, 
that  a gradual  progress  from  simple  to  richly-moulded 
vault-ribs  is  traceable.  The  early  mouldings  (Fig.  97) 
are  flat  in  their  faces  or  else  made  half-round ; the  ribs 
of  the  later  periods  are  more  elaborately  carved  into 
half-rounds  at  the  edges,  with  intervening  flat  or  angular 


faces.  The  ceiling  gave,  by  means  of  these  carved  ribs, 
a very  pleasing  impression.  Yet  the  time  was  not  far 
distant  when  the  cross-vault  was  to  be,  not  pleasing 
merely,  but  strikingly  decorative  because  of  the  rib- 
mouldings,  when,  indeed,  all  the  great  supports  of  the 
building  seemed  designed  to  lead  the  eye  upward  to 
these  same  rib-mouldings ; for  the  pier-mouldings  were 
simply  guides  to  those  of  the  vault.  As  long  as  the 
cross-vault  was  only  the  roof  of  a crypt  it  remained 
plain,  for  its  abode  was  in  darkness ; when  it  roofed  the 
nave,  it  stood  in  the  light,  and  was  made  beautiful. 


Fig.  97, 


MOULDINGS  OF  THF  VAULTS. 


138 


Ecclesiastical  Architecture. 


Fig.  98. 


§ Portals.  There  is  almost  Grecian  purity  of  taste 
in  the  Romanesque  doorway  (Fig,  98)  before  ornament- 
ation became  redund- 
ant. The  trefoil  arch 
with  the  heart-shaped 
frets  above,  spans 
the  doorway;  the 
beveled  jambs  have 
against  their  sides  or- 
na mental  columns. 
The  form  of  the  shafts, 
not  of  the  capitals,  as 
in  Grecian  orders, 
constitutes  their  dis- 
tinctive features.  The 
mouldings  of  the  arch 
are  simple,  the  outer 
one  being  the  more 
elaborate.  The  com- 
bined effect  is  beauti- 
ful. This  doorway  is 
similar  in  its  form  and 
adornment  to  the 
windows  and  arcades 
within  the  church. 
When  seriousness  of 
purpose  was  lost,  all 
this  wealth  of  deco- 
rative details  became 
the  abbettor  of  a fan- 
tastic and  grotesque 
taste.  The  golden 
door  of  the  Cathedral 

PORTAI,  AT  HEITSBRONN.  of  Freiberg  (Fig.  99) 

exhibits  the  extravagance  to  which  the  taste  for  excess- 


Romanesque  Style. 


i39 


ive  embellishment  led.  The  columns  upon  high  pedes- 
tals, and  supporting  each  an  architrave,  are  executed 
with  all  the  refine- 
ment  belonging 
to  the  best  ex- 
amples. But  there 
is  incongruity  in 
the  grotesque 
forms  above  the 
heads  of  the  saints, 
who  are  set  be- 
tween these  col- 
u m n s ; and  the 
shapes  above  the 
architrave  make  a 
strange  medley  of 
mediaeval  sphinx- 
es, saints,  and  lin- 
eal decoration. 

Christian  symbol- 
ism is  altogether 
foreign  to  this  Ro- 
manesque mode 
of  decoration;  yet 
there  is  a symbol-  P0RTAI'  OF  CATHEDRAI-  AT  FREIBURG- 
ism,  representing  history  and  the  sciences,  especially  as- 
tronomy, to  which  the  mediaeval  mind  was  devoted. 


§ Cloisters.  The  remarkable  variety  in  the  deco- 
rative column  is  nowhere  viewed  to  better  advantage 
than  in  the  Cloisters  of  St.  Paolo,  at  Rome.  These 
cloisters  are  covered  passages  which  surround  a quad- 
rangle. The  court  is  planted  with  trees  and  flowers, 
and  is  separated  by  arcades  from  the  cloisters.  The 
columns  of  these  arcades  are  twisted  and  fluted  and 


140 


Ecclesiastical  Architecture. 


wound  with  spiral  cords,  until  the  forms  they  assume 
make  one  doubt  whether  unpliable  stone  is  the  material 
out  of  which  they  are  carved.  Surrounded  by  all  this 


Fig.  100. 


CLOISTER  OF  ST.  PAOEO,  ROME. 


princely  splendor,  ecclesiastics  of  all  ranks  walked,  read- 
ing their  prayers  or  meditating  upon  sacred  themes,  dur- 
ing the  intervals  of  church  service  or  in  their  hours  of 
study.  These  clerics,  who  could  own  nothing  by  virtue 
of  their  vows,  became,  in  truth,  the  possessors  of  luxu- 
rious surroundings,  which  earthly  princes  might  vie  to 
imitate,  but  must  ever  fail  to  surpass. 


Chapter  V* 

ROMANESQUE  ARCHITECTURE  IN  EUROPE* 

I.  IN  ITALY. 

§ Political  Conditions.  Italy,  in  the  nth  and  12th 
centuries,  was  part  of  the  Holy  German  Empire.  But 
the  Italian  possessions  of  the  emperor  were  always 
scenes  of  strife  between  the  imperial  and  papal  parties. 
Italian  traditions  were  cisalpine,  not  transalpine,  and 
sovereigns  of  German  extraction  were  simply  endured. 
There  were  some  divisions  of  Italy  within  which  feudal 
lords  ruled.  Great  cities,  also,  were  in  these  Italian  do- 
mains, with  right  to  sustain  armies  for  self-protection, 
and  to  wage  war  on  their  own  account.  These  almost 
politically  independent  divisions  corresponded  with  the 
ancient  divisions  of  Italy;  namely,  Venetia,  Tuscany, 
Eombardy,  Campania,  and  the  Sicilies.  These  provinces 
all  belonged  to  the  empire,  yet  each  one  was  actuated 
by  different  aims,  had  diverse  and  long-standing  tradi- 
tions, and  represented  different  types  of  civic  life.  They 
all,  however,  had  a common  religious  faith,  and  the  pope 
was  its  supreme  head.  When,  therefore,  the  new  archi- 
tectural style,  known  as  the  Romanesque,  began  to  be 
employed  in  Italy,  the.se  different  divisions  made  modi- 
fications, giving  varieties  to  the  general  Romanesque 
type  so  pronounced  that  these  varieties  have  been  called 
the  Florentine,  the  Venetian,  the  Tuscan,  and  the  Eom- 
bardic  styles  of  the  Romanesque. 

§ Florentine  Style.  The  Church  of  St.  Miniato  is 
a fine  example  of  the  Florentine  style.  The  ground- 

141 


142 


Ecclesiastical  Architecture. 


plan  (Fig.  ioi)  shows  two  piers  on  each  side  of  the 
nave,  which  support  transverse  arches.  The  roof  over 
the  nave  is  an  open  timber  roof,  beau- 
tifully decorated  with  patterns  of  va- 
rious colors.  The  columns  and  arch- 
ivolts  are  marked  by  white  and  black 
bands  of  marble,  a kind  of  decoration 
common  to  the  Italian  Romanesque. 
These  features  are  all  Romanesque  ; 
but  the  shape  of  the  ground-plan  is 
the  same  as  that  of  the  Latin  basilica, 
and  the  elevation  of  the  church,  so 
far  as  its  exterior  is  concerned,  re- 
minds one  of  the  Constantine  or  Latin 
basilicas.  It  is,  however,  in  the  west- 
ern fagade,  where  the  great  peculiar- 
plan  st.  miniato.  Florentine  style  (Fig.  102) 

becomes  most  conspicuous.  Light  and  dark  colored 
marbles  are  used  to  make  inlaid  work,  producing  a front 
which  seems  Fig.  102. 

like  a colossal 
mosaic,  rich  in 
columns  and 
arches,  graced 
with  stellar 
forms,  and  beau- 
tified with  cir- 
cular, rectangu- 
lar, and  triangu- 
larhgures.  This 
mode  of  decora- 
tion required  the 
painter’s  eye, 
not  the  sculp- 
tor’s chisel.  FACADE  ST.  MINIATO,  FLORENCE- 


Fig.  101. 


Romanesque  Style. 


i43 


§ Venetian  Style.  The  Church  of  St.  Mark’s,  at 
Venice,  exhibits  the  finest  example  in  the  Venetian  style. 
In  plan  this  church  (Fig.  103) 
is  a Greek  cross,  with  a mag- 
nificent dome  over  the  cross- 
ing and  a smaller  dome  at  each 
extremity  of  the  equal  arms  of 
the  cross.  Great  piers  and 
powerful  arches  sustain  the 
domes.  Galleries  are  built  be- 
tween the  piers.  The  floor  is 
a mosaic ; the  pier-feces  are  in- 
crusted  with  marbles,  rich  in 
color;  the  spandrels  and  domes 
are  beautified  with  mosaic  pic- 

. _ , . . ^ f PI.AN  OF  ST.  MARK’S. 

tures.  All  this  is  Byzantine, 

and  reminds  one  only  of  the  superior  magnificence  of 
St.  Sophia,  at  Constantinople.  The  great  porch  (Fig. 
104)  on  the  west  and  north  side  is  Romanesque,  omit- 


Fig.  104. 


FACADE  OF  ST.  MARK’S,  VENICE. 


1 44 


Ecclesiastical  Architecture. 


ting,  however,  the  attic-story  above,  whose  pointed  arches 
and  pinnacles  are  a Gothic  addition  of  the  14th  century. 
The  high  archways  in  the  porch  and  before  the  western 
doors  of  the  church  are  not  Byzantine,  but  Romanesque. 
The  massive  piers  and  arches  on  the  north  side  of  the 
porch  need  but  to  be  placed  in  the  nave  in  order  to  fur- 
nish striking  resemblance  to  those  of  the  Norman  Roman- 
esque nave.  The  decoration  of  these  piers  is  Venetian, 
and  consists  in  rows  of  engaged  columns  in  stories,  a 
style  recalling  the  method  of  decorating  flat  surfaces, 
which  was  common  in  ancient  Rome. 

§ Tuscan  Style.  The  group  of  buildings  at  Pisa,  in- 
cluding the  cathedral,  the  baptistery,  and  the  campanile, 
were  built  when  the  Pisans  were  at  the  summit  of  their 
power,  and  when  their  victories  brought  countless 
wealth  into  their  city.  This  mode  of  grouping  ecclesi- 
astical buildings  was  common  during  the  period  of  the 
Latin  Catholic  Church ; but  the  more  common  custom 
in  the  Germanic  Church  was  to  unite  the  baptistery  to 
the  nave  as  a chapel,  and  to  build  the  campanile  as  a 
tower  in  connection  with  the  church  edifice.  The  plan 
of  this  Pisan  Cathedral  (Fig.  105)  is  cruciform,  just  such 
a plan  as  would  be  made  by  taking  one  of  the  five-aisled 
basilicas,  which  Constantine  built,  and  adding  transepts, 
then  building  above  the  crossing  an  elliptical  dome. 
The  only  piers  in  the  nave  are  the  eight  which  support 
the  dome.  There  are  sixty-five  ancient  Greek  and  Ro- 
man columns  in  the  nave  and  aisles,  all  taken  by  the 
Pisans  as  booty  in  war.  One  seems  to  be  in  a forest  of 
beautiful  classical  columns  as  he  walks  up  the  nave  of 
the  church.  The  peculiar  decoration  of  alternating 
light  and  dark  marble,  characteristic  of  the  Italian  Ro- 
manesque, is  seen  on  the  aisle-side  of  the  arches  and  in 
the  galleries.  It  is  in  the  exterior  (Fig.  106)  that  the 


Romanesque  Style . 


i45 


chief  peculiarity  of  the  Tuscan  style  is  seen.  The  west- 
tern  facade  has  in  its  lowest  division  a magnificent  ar- 
cade, with  engaged  columns  and 
arches,  within  three  of  whose 
arches  are  portals,  where  three 
ancient  bronze  gates  once 
swung,  these,  also,  being  tro- 
phies of  war.  The  upper  divis- 
ions are  four  open  galleries  of 
different  length,  presenting  a 
most  brilliant  array  of  arches 
and  columns.  The  sides  are 
ornamented  with  decorative  ar- 
cades or  with  pilasters  and  hori- 
zontal entablature.  The  arcade, 
as  a decorative  feature,  is  splen- 
didly carried  out  in  both  the 
baptistery  and  the  campanile. 

The  influence  of  this  group  of  buildings  is  traceable  in 
the  churches  of  Tucca  and  other  cities  of  Tuscany. 

Fig.  106. 


FACADE)  OF  CATHEDRAL,  OF  PISA. 
IO 


Fig.  105. 


OF  PISA. 


1 46  Ecclesiastical  Architecture. 

§ Lombard  Style.  Of  all  the  Italian  styles  the 
Lombard  presents  most  completely  the  typical  interior 
of  a Romanesque  church.  The  nave,  as  well  as  the 
aisles,  is  vaulted,  and  the  piers  of  the  nave  have  mould- 
ings corresponding 
to  the  arches  and 
ribs  of  the  vault. 
The  church  of  this 
style  is  a vaulted 
basilica  with  tran- 
septs. The  distin- 
guishing character- 
istics of  the  Lom- 
bard style  are  seen 
in  the  facade. 
There  are  no  high 
central  portion  and 
lower  side-wings  as 
in  the  fagade  of 
the  Romanesque 
church  generally  ; 
but  the  who  1 e 
church  is  placed 
under  one  gable- 
roof,  and  the  divis- 
ions, answering  to 
nave  and  aisles,  are  marked  off  on  the  western  fagade  by 
pilaster-buttresses,  extending  to  the  eaves.  The  cathe- 
dral at  Piacenza  (Fig.  107)  will  exhibit  this  style.  The 
western  fagade  has  also  a highly  ornate  character,  which 
is  a characteristic  of  the  Lombard  style.  There  are  ar- 
cades under  the  eaves,  and  arcades  above  the  doorways 
of  the  side-aisle,  and  a great  rose-window  above  the  cen- 
tral portal.  A projecting  porch  is  before  each  entrance, 
with  first  and  second  story. 


Romanesque  Style. 


i47 


II.  IN  GERMANY. 

§ The  Empire  and  the  Papacy.  More  than  hah* 
the  lands  of  Germany  had  been  granted  to  Church- 
men, on  condition  of  feudal  obedience.  Hence  bishops 
were  theoretically  subject  to  the  sovereign  will.  The 
Council  of  the  Tateran,  in  the  12th  century,  dared  to 
forbid  clergymen  receiving  benefices  from  laymen  or 
owing  allegiance  to  them.  To  such  colossal  power  had 
the  papacy  attained.  The  gauntlet  to  the  civil  power 
was  thrown  down  first  by  Pope  Gregory  VIII.  Henry 
IV  deposed  Gregory  by  the  Diet  at  Worms.  The  Coun- 
cil at  Rome  excommunicated  the  emperor.  But  papal 
excommunication  had  more  terror  than  imperial  depo- 
sition. Therefore,  Henry  traversed  the  wildest  passes  of 
the  Alps  in  midwinter,  and  stood  three  days  barefoot 
and  fasting  in  the  snow  at  the  gate  of  the  Castle  of 
Canossa,  begging  the  removal  of  the  papal  sentence.  A 
divided  allegiance  between  the  civil  and  ecclesiastical 
authorities  was  the  disturbing  spirit  of  the  times.  Cen- 
turies had  taught  obedience  to  the  civil  authority ; the 
demand  of  obedience  to  the  papal  power  was  new  in  the 
Western  World.  The  Saxons  figure  prominently  in  the 
empire  during  this  period.  They  were  the  most  recent 
converts  to  Christianity.  They  were  often  converted  by 
force,  and  as  often  returned  to  their  ancient  faith.  They, 
for  a time,  were  fickle  papists.  The  Rhenish  provinces 
in  this  period  were  governed  by  powerful  bishop-princes, 
who  owed  their  fiefs  to  the  emperor.  These  ecclesias- 
tics had  great  influence  in  the  conduct  of  the  affairs  of 
the  realm,  and  they  accepted  slowly,  and  only  by  ecclesi- 
astical compulsion,  the  papal  theory.  Varieties  in  the 
Romanesque  style,  as  developed  in  Germany,  are  chiefly 
traceable  to  the  localities  of  the  Saxon  lands  and  the 
Rhine,  where  there  was  greater  or  less  independence  of 
Rome. 


148 


Ecclesiastical  Architecture. 


§ The  German  Saxon  Style.  This  church  had  usu- 
ally transepts  and  low  piers  between  the  nave  and  aisles. 
The  intercolumniation  of  the  piers  was  determined  by 
the  breadth  of  the  nave.  Sometimes  columns  alternated 
with  piers,  giving  variety  to  the  appearance  of  the  nave. 
This  construction  was  the  same  as  the  colonnades  of  the 

Latin  basilica,  except  that 
piers,  not  columns,  sup- 
ported the  arches,  and  so 
the  whole  Saxon  construc- 
tion was  more  massive. 
The  simple,  bold  outlines 
of  the  ornamentation  of 
these  piers  are  observable 
in  Fig.  108.  Engaged  col- 
umns correspond  to  the  in- 
ner and  outer  mouldings  of 
the  archivolt ; a single  bold 
moulding  divides,  perpen- 
dicularly, the  spandrel. 
And  above  the  arch  is  a hori- 
zontal moulding  of  the  same 
kind.  The  western  front 
had  a low  vestibule,  with 
an  arcade-gallery  above, 
opening  into  the  nave.  The 
flat  roof  for  nave  and  aisles 
was  usual.  The  chief  Ro- 
manesque features  in  the 
interior  were  the  pier  and 
its  intercolumniation,  and 


PIER  AND  ARCH  IN  CONVENT 
CHURCH,  AT  BUERGEEIN, 
NEAR  JENA. 


the  apsidal  chapels  in  the  transepts,  opposite  the  aisles. 
Western,  and  often  Eastern  towers,  were  common  to  the 
exterior,  and  gave  their  peculiar  attraction  to  the  edifice. 
The  later  buildings  of  this  style  assumed  the  ornamental 


Romanesque  Style. 


149 


features  of  other  styles,  and  lost  thereby  that  stern  sim- 
plicity which  accorded  most  harmoniously  with  the  low 
and  heavy  arches  of  the  nave  and  the  great  weight  of 
wall  which  they  sustained. 

§The  German  Norman  Style.  The  Germans  de- 
veloped an  architectural  style  in  which  the  vaulted  nave 
and  the  construction  of  towers  at  the  four  corners  of  the 
church  were  the  most  striking  features.  The  ground- 
plan  was  sometimes  without  transepts,  then  the  towers 
stood  at  each  corner  of  the  rectangular  plan.  At  other 
times  the  towers  were  in  the  angles  of  eastern  and  west- 
ern transepts.  The  vaulted  ceiling  and  the  towers  were 
suggestions  obtained  from  the  Norman  French ; but  a 
new  disposition  of  towers  and  new  proportions  made 
an  independent  German  style.  That  remarkable  series 
of  churches  along  the  Rhine  and  in  the  Rhine  prov- 
inces, as  exemplified  in  the  cathedrals  of  L,aach,  Spires, 
Mayence,  and  Worms,  present  these  marked  variations 
from  the  Norman  Romanesque  churches  of  other  lands, 
and  the  style  may  appropriately  be  called  the  Ger- 
man-Norman  Romanesque.  The  wooden  roof  is  oc- 
casionally found  here  as  in  Italy;  but  great  piers  in 
the  nave,  not  columns,  give  it  support.  The  use  of 
piers  in  the  nave  associates  this  style  with  the  Saxon  ; 
but  the  greater  height  of  the  nave  distinguishes  often 
these  styles.  It  is,  however,  in  the  vaulted  nave  that 
a great  and  distinguishing  character  of  the  German- 
Norman  Romanesque  comes  full  into  view,  and  it  is 
this  characteristic  which  associates  the  edifices  with  the 
Norman  type.  A bay  of  the  nave,  taken  from  the  cathe- 
dral at  Worms,  will  make  clear  the  construction.  There 
are  principal  piers,  richly  moulded  at  the  sides  of  this 
bay,  from  which  are  sprung  longitudinal  and  transverse 
arches.  Each  vault  is,  therefore,  sustained  by  sup- 


150  Ecclesiastical  Architecture. 

ports  such  as  were  employed  to  carry  the  dome  of 
St.  Sophia.  The  supporting  piers  (Fig.  109)  are  not 
square,  like  the  dome-piers  in  the  Byzantine  church, 
but  are  clustered  columns.  A secondary  pier  is  built 

between  these  prin- 
cipal ones  ; then  the 
bay  of  the  nave  is 
constructed.  It  is 
tripartite,  consisting 
of  a high  nave-arch, 
within  which  the 
windows  of  the  outer 
wall  are  in  full  view; 
a solid  wall  above 
these  arches,  which 
in  other  churches  be- 
comes broken  into 
gallery-arcades ; and 
thirdly,  the  clere- 
story. The  cross  and 
diagonal  ribs  of  the 
vaults  received  prom- 
inent mouldings. 
The  whole  structure 
of  the  nave  was  cum- 
bersome; but  the 
greater  height,  the 
somber  shaped  piers, 
the  mighty  arches,  brightened  with  the  abundant  light 
from  the  unobstructed  side-windows  and  those  of  the 
clerestory,  produced  an  effect  new  and  impressive,  even 
before  these  cumbersome  elements  of  structure  were 
formed  into  beauty  by  the  genius  of  the  artist. 

Fig.  no  is  the  choir  of  the  minster  at  Bonn. 
The  tall,  square  towers,  with  the  tapering  polygonal 


Fig.  109. 


BAY  OF  CATHEDRAL,  AT  WORMS. 


Romanesque  Style. 


151 


Fig 


roof  at  their  summits,  and  the  graceful  circular  apse, 
are  immediately  noticeable.  The  arcade-paneling  of 
the  facade  and  the 
open  arcade  under  the 
eaves  of  the  apse  com- 
bine to  make  a facade 
which  is  most  beautifully 
embellished.  The  west- 
ern front  sometimes  had 
a polygonal  projection 
between  the  towers  for 
the  entrance.  This  style 
has  indeed  resemblance 
to  the  Norman  French 
through  these  towers ; 
but  the  whole  edifice  is 
carried  out  in  such  pleas- 
ing symmetry,  and  orna- 
mented  with  almost 
classic  exactness  of  taste 
in  the  series  of  churches 
wherein  the  German- 
Norman  style  reached  its 
highest  perfection,  that 
the  style  may  be  claimed 
as  a national  develop- 
ment, having  received 
perhaps  only  the  typical 
forms  and  the  structural 
principles  from  abroad; 
for  the  Germans  modified 
typical  forms  so  masterly 
that  their  churches,  com- 
pared with  the  prototypes,  are  like  cultivated  flowers, 
whose  beauty  far  outshines  the  same  flowers  when  wild. 


MINSTER  AT  BONN. 


152 


Ecclesiastical  Architecture. 


PLAN  OF  APOSTILS’ 
CHURCH. 

in g with  circular 
was  joined  on  the 
western  side  of 
the  crossing.  A 
vestibule  (Fig. 
112)  was  often 
built  to  the  nave 
and  aisle-portion 
as  a transept, 
thus  giving  two 
transepts,  one  at 
the  eastern  and 
the  other  at  the 
western  extrem- 
ity of  the  church. 
Towers  and  tur- 
rets, both  east- 
ern and  western, 
were  often  added. 


§ German  Romanesque  Style. 

It  is  not  difficult  to  separate  a group 
of  churches  found  in  Germany, 
France,  and  Italy,  which  have  sim- 
ilar characteristics,  and  are  Roman- 
esque, but  which  are  distinct,  as  a 
variety,  from  the  Norman  style. 
These  churches  in  Germany  are  ap- 
propriately called  the  German  Ro- 
manesque. The  dome  (Fig.  111) 
above  the  crossing  was  the  ruling 
thought  in  this  variety.  This  fea- 
ture is  Byzantine.  Great  arches  on 
piers  supported  the  dome,  and  the 
thrusts  were  counterpoised  by  the 
transepts  and  choir,  all  terminat- 
apses.  A long  nave  with  side-aisles 


CHOIR  OF  APOSTLES’  CHURCH,  COLOGNE- 


Romanesque  Style. 


i53 


The  exterior  was  decorated  with  the  arcades  and  open 
galleries,  and  the  whole  edifice  was  a new  variety, 
having,  indeed,  no  less  pleasing  charms  than  the  more 
imposing  German  Norman  style.  A group  of  these 
churches  are  in  Cologne,  and  are  named  St.  Mary  in  the 
Capital,  Apostles’  Church,  and  Great  St.  Martin’s. 

III.  IN  FRANCE. 

§The  Sovereign  Power.  The  establishment  of  cit- 
ies with  municipal  privileges  was  a Roman  institution. 
Fiefs,  under  the  dominion  of  a feudal  lord,  was  a Ger- 
manic custom.  France  was  the  first  among  the  govern- 
ments of  Europe  to  accomplish  the  adjustment  of  these 
two  opposing  systems.  Her  king,  Eouis  VI,  protected 
the  leagues  of  the  common  people  against  the  barons, 
especially,  by  establishing  communes,  or  towns  with  free 
charters.  He  was  led  in  this  movement  by  the  great 
Churchman,  Abbot  Suger.  The  successors  of  this  king 
increased  the  number  of  communal  charters.  This 
movement  was  abetted  by  those  many  cities  in  Southern 
France,  which  had  municipal  privileges  granted  them  by 
the  Romans,  and  which  they  claimed  as  peculiar  rights 
even  in  the  twelfth  century.  These  free  cities  chose 
their  own  magistrates  and  armed  their  own  citizens  fol 
common  defense.  The  growth  of  the  sovereign’s  power, 
because  he  favored  free  cities  in  his  domains,  subordi- 
nated the  claims  of  the  barons.  Feudal  customs  gave 
way.  The  reign  of  Eouis  IX  (1226-1270)  is  a new  era 
in  French  history,  an  era  in  which  the  regular  and  equal 
action  of  law  began  to  replace  the  turbulent  misrule  of 
the  feudal  ages.  The  great  Churchmen  of  France  were 
the  chief  allies  of  the  sovereign  in  this  contest  between 
the  factions  in  his  kingdom.  The  contention,  therefore, 
between  the  king  of  France  and  the  Pope  never  as- 
sumed such  violent  character  as  the  strife  between  papal 


154 


Ecclesiastical  Architecture. 


claims  and  the  royal  prerogatives  assumed  in  the  German 
Empire  and  in  England.  And,  furthermore,  France,  in 
its  language  and  spirit,  had  agreement  with  Rome,  and 
so  the  papacy  was  not  antagonistic  to  the  dominant 
thoughts  of  her  people. 

§ Varieties  in  Style.  There  are  three  varieties  of 
the  Romanesque  style  which  are  distinguishable  in 
France.  A variety  in  which  the  influence  of  the  Latin 
basilica  is  seen  upon  the  Romanesque  features,  and 
which  may  be  called  the  French  Romanesque  style ; a 
variety  which  has  likeness  to  the  German  Norman  style, 
probably  was  the  prototype  of  this  style,  and  called  the 
Norman  French  style;  and  a variety  which  is  altogether 
Byzantine  in  its  features,  and  so  rightly  named  the 
Franco-Byzantine  style.  It  is  thus  seen  that  the  Ro- 
manesque style  in  the  Italian  and  German  provinces  of 
the  German  Empire,  and  in  the  Kingdom  of  France, 
embraced  a struggle  between  the  structural  principles  of 
the  Latin  basilica  and  the  Byzantine  basilica.  The 
nave  of  the  Latin  basilica  was  built  by  means  of  columns, 
with  arches  or  architrave  upon  them,  whereon  was 
placed  the  walls  of  the  nave ; the  nave  of  the  Byzantine 
basilica  was  built  by  means  of  piers  and  arches  upon 
them,  while  between  the  piers  were  placed  beautiful  ar- 
cades and  galleries,  and  above  them  a dome.  The  Nor- 
man style  in  France  made  its  appearance  as  a structural 
compromise  between  these  two  great  systems. 

§ The  Franco=Byzantine  Style.  Central  and  South- 
ern France  were  richest  in  classic  remains,  and  retained 
longest  commercial  relations  with  Venice  and  the  East. 
There  is,  as  a consequence,  in  these  regions  churches 
which  reflect  classic  traditions  and  the  Byzantine  architec- 
ture. The  Church  of  St.  Front,  at  Perigueux  (Fig.  113) 


Romanesque  Style.  i 55 

is  a-fl  imitation  of  St.  Mark,  at  Venice.  Fig.  113. 

The  ground-plan  is  a Greek  cross;  its 
roofing  is  accomplished  through  five 
domes.  The  dome  piers  have  cross- 
passages through  them,  and  the  arches 
upon  them  are  pointed.  The  inte- 
rior is  plain  as  compared  with  the 
original.  The  principal  value  of  this 
church  to  the  student  of  ecclesias- 
tical architecture  is  to  demonstrate 
the  widespread  influence  of  the  By- 
zantine style  when  the  Romanesque 
was  being  perfected.  The  Cathedral  of  PI<AN  ST-  front,  at 

_ , . , „ . . , PERIGUEUX. 

Cahors  is  also  another  witness  of  the 

same  fact,  for  its  prototype  is  the  Church  of  St.  Irene, 

gFrench  Romanesque. 

There  were  two  distinct  varieties 
of  Romanesque  churches,  con- 
structed under  the  influences  of 
the  Tatin  and  Byzantine  basil- 
icas. Both  church  varieties  had 
the  Tatin  cross  as  the  ground- 
plan.  The  first  variety  is  shown 
by  the  Abbey  Church  of  Fronte- 
vrault  (Fig.  114)  The  church 
has  a dome  or  cupola  above  the 
crossing,  in  the  Byzantine  man- 
ner, and  the  choir,  chapels,  and 
transepts  buttress  it.  The  choir- 
aisle  has  opening  into  it  three 
most  beautiful  chapels.  The 
nave  has  a series  of  domes  for 
the  roofing,  and  the  piers  for  its 


at  Constantinople. 

Fig.  114. 


ABBEY  CHURCH  AT 
FRONTEVRAUI/T. 


156  Ecclesiastical  Architecture. 

domes  were  built  in  the  walls  of  the  church.  There 
were  no  aisles  in  these  churches.  The  peculiar  beauty 
of  the  plan  of  the  church  be- 
comes instantly  apparent ; for  the 
prominent  transepts,  because  of 
the  narrow  nave,  give  to  the  ex- 
terior the  boldest  outline  to  its 
cruciform  shape.  This  variety, 
therefore,  is  composed  of  a Ro- 
manesque choir  and  transepts, 
and  a Romanesque  nave,  but  the 
nave  has  the  domical  roofs  of  the 
Byzantine  style.  The  second 
variety  (Fig.  115)  has,  likewise, 
the  dome  above  the  crossing,  and 
this  determined  the  application 
of  the  structural  principles  which 
Byzantine  art  introduced.  A 
series  of  chapels  about  the  choir- 
aisle  and  the  transepts  gave  the  buttressing  to  this  cen- 
tral structure,  as  in  the  Church  at  Frontevrault  ( vide 

Fig.  1 14);  but  the  Fig.  116. 

nave,  with  aisles 
vaulted  in  the  Ro- 
manesque style, 
gave  the  western 
counterpoise.  The 
whole  vaulting  of 
the  church  nave  is 
cylindrical.  Two 
modes  were  em- 
ployed to  resist  the 
side-thrust  of  the 
cylindrical  vault  ’ 

above  the  nave : one  was  to  meet  the  side-thrust  by  high 


Fig.  115. 


PLAN  N.  D.  DU  PORT. 


Romanesque  Style. 


i57 


half-cylinder  vaults  over  the  side-aisles;  the  other,  by 
transverse  cylinder  vaults  above  the  side-aisles.  The  ex- 
terior of  the  Church  of  Notre  Dame  du  Port,  at  Cleremont 
(Fig.  1 1 6),  shows  a church  in  the  French  Romanesque 
style,  beautified  by  the  common  Romanesque  mode  of 
decoration.  These  churches  call  to  mind  the  German 
Romanesque  churches,  such  as  Apostles’  Church,  at 
Cologne  ( vide  Fig.  112).  The  national  taste  is  clearly 
defined  in  the  exteriors ; but  the  structural  principles  in 
both  are  the  same.  The  problem  with  the  German  and 
the  French  was  to  buttress  a domical  structure  above  the 
crossing.  It  was  solved  in  each  nation  alike ; namely, 
by  choir-chapels,  transepts,  and  nave,  built  under  the 
constructive  principles  of  the  Byzantine  style. 


§ Norman  French  Style.  The  groin-vault  above  the 
bays  of  the  nave  was  as  important  an  innovation  for  the 
development  of  the  perfected  Romanesque  style  as  the 
dome  with  pendentives  was  for  the  Byzantine  style.  It 
is  generally  conceded  that  the  Normans  of  France  first 
employed  this  mode  of 
vaulting  for  the  nave, 
and  as  early  as  the  close 
of  the  eleventh  century. 

The  groin- vault  was 
then  constructed  either 
with  four  or  six  compart- 
ments, although  later, 
four  compartments  in 
the  vault  became  gen- 
erally in  vogue.  The 
six-parted  vault  (Fig. 

1 17)  had  four  piers  at 
the  corners  of  a bay  in  the  nave,  and  between  them  two 
subordinate  piers.  Transverse  arches  (Fig  117,  a)  were 


SIX-PARTED  VAUI.T. 


158  Ecclesiastical  Architecture. 

sprung  over  the  aisles  to  opposite  piers ; then  longitu- 
dinal arches  were  built  from  pier  to  pier  (b) , making  two 
arches  along  the  nave  in  one  of  its  square  bays.  The 
framework  for  the  vault  was  completed  by  two  diagonal 
arches  (c),  extending  from  one  corner-pier  of  the  bay  to 
its  diagonally  opposite  corner-pier.  The  groined  com- 
partments, six  in  number,  were  then  filled  in.  The 
problem  of  poising  a groin-vault  high  in  the  air  was  thus 
solved  by  the  Normans.  It  proved  of  the  highest  im- 
portance for  the  perfecting  of  the  Romanesque  style  and 
the  development  of  the  Gothic. 

The  ground-plan  of  the  Norman  church  was  the 
Tatin  cross  (Fig.  1,18).  A cupola  was  often  over  the 
crossing,  buttressed  round  by  the  elevation  of  the  tran- 
septs, choir,  and  nave.  The  choir  had  aisles  along  the 
sides,  and  had  a circular  termination.  Circular  apses 
were  on  the  eastern  sides  of  the  transepts.  Towers 
were  built  at  the  western  front.  The  exterior  aspect 
of  this  church  was  most  striking  and  imposing.  Its 
early  appearance  gave  it  a commanding  influence  upon 
subsequent  Romanesque  churches.  The  interior  of  the 
church  was  no  less  remarkable,  and  exerted  no  less  in- 
fluence, than  the  exterior.  The  expression  of  the  or- 
ganic relationship  of  its  parts  was  quite  completely 
attained.  The  piers  (Fig.  119)  which  carried  the 
great  transverse  arches  were  signaled  out  by  massive 
mouldings  on  the  transverse  arches.  Then  the  tri- 
partite division  in  the  bay  of  the  nave  was  effected,  so 
that  the  lofty  nave-arch  let  light  more  freely  in  from 
the  windows  of  the  walls,  the  triforium  gave  its  graceful 
arcade  to  beautify  the  nave,  and  the  clerestory  above 
poured  down  into  the  church  larger  volumes  of  light. 
The  Norman  French  style  accomplished  a more  perfect 
organic  structure  within  ; it  secured  a most  impressive 
elevation  of  the  nave  with  a roofing  that  seemed  the 


Romanesque  Style. 


i59 


natural  culmination  to  the  arrangement  of  parts  in  the 
nave ; it  gave,  what  was  of  great  importance,  better 


Fig  118.  Fig.  119. 


PLAN  OF  ST.  ETIENNE.  NAVE  ST.  ETIENNE,  CAEN. 


light  in  the  church.  The  ornamentation  was  essentially 
the  same  as  that  found  in  the  Romanesque  churches  oi 
the  time. 

IV.  IN  ENGLAND. 

§ The  Norman  Conquest.  William  conquered  Eng- 
land, when  Harold,  the  last  of  the  Saxon  kings,  was  de- 
feated at  the  Battle  of  Hastings.  The  Norman  king  and 
his  nobles  established  the  feudal  customs  of  France  and 
swept  away  the  simple  manners  of  the  Saxon.  The 
whole  land  was  changed.  The  Norman  soldiers  were 
made  feudal  chiefs,  and  everywhere  played  the  tyrants 
over  the  conquered.  Foreign  Churchmen  became  the 
abbots  and  bishops  in  England.  There  was  no  change 


160  Ecclesiastical  Architecture. 

in  the  religion,  but  change  in  the  religious  teachers. 
The  civil  and  ecclesiastical  creatures  of  the  Norman  con- 
queror riveted  the  chains  tighter  and  tighter  upon  the 
defeated  Saxons.  Such  was  the  social  condition  when 
the  Norman  architecture  was  introduced  into  England. 
The  early  Saxon  style  gave  way  to  the  Norman.  The 
Norman  style  in  the  churches  increased  the  bitterness  of 


the  bondage  of  the  Saxons. 

Fig.  120. 


puan  OF  CATHFDRAF  at 
DURHAM. 


east.  The  churches  were 
width  of  the  transept  was 


Yet,  when  there  arose  adjust- 
ment, and  the  Saxons  be- 
came willing  subjects  to  the 
established  order,  having 
obtained  concessions  which 
gave  them  justice  and 
equal  rights,  then  the  Nor- 
man style  received  an  en- 
richment such  as  not  even 
in  France  or  in  Germany 
the  Norman  style  ever  at- 
tained. There  are,  then, 
three  distinct  varieties,  or 
better,  two;  for  the  first 
style  had  an  early  and  a 
later  period. 

§ Anglo-Norman  Style. 

These  churches  (Fig.  120) 
differed  through  some  im- 
portant  modifications  in 
the  ground-plan  from  the 
continental.  There  was  no 
apsidal  termination  at  the 
east  end.  The  square  com- 
pleted the  choir  on  the 
longer  and  narrower.  The 
greater  than  the  nave,  and 


Romanesque  Style. 


161 


Fig.  121. 


an  aisle  was  cut  off  on  the  east  of  the  transepts  in  order 
to  make  the  Latin  cross  by  means  of  the  transepts  cross- 
in g the  choir  and 
nave.  At  the  cross- 
ing a tower  was 
raised  upon  massive 
piers.  There  were 
principal  and  subor- 
dinate piers  along 
the  nave,  and  the 
principal  entrance 
was  usually  lateral. 

The  form  of  the 
cross  within  was 
more  like  the  Gothic 
type,  which  is  long 
and  narrow.  The 
bay  of  the  nave,  how- 
ever, adheres  closely 
to  the  type  of  the 
Norman  French. 

Three  compartments 
(Fig.  1 2,1 ) are  in  the 
nave ; and  the  clere- 
story window,  like 
that  in  the  Norman 
French,  is  connected 
with  a tripartite  ar- 
cade opening  on  the 
interior.  The  Anglo- 
Norman  gives  pref- 
erence to  short  round  pillars  of  great  diameter  instead  of 
the  moulded  pier ; yet  where  the  pier  is  moulded,  it  has 
the  simple  half-round.  The  capitals  are  like  small  half- 
spheres, placed  round  the  top  of  the  pier.  The  col- 


BAYS  FROM  PFTERBORO  CATHEDRAE. 


162 


Ecclesiastical  Architecture. 


Fig.  122. 


umns  of  the  triforium  and  clerestory  are  similar  in  form 
to  the  piers.  The  architecture  is  heavy  and  massive, 
and,  owing  to  its  great  length,  the  church  seems  very 
low.  The  great  thickness  of  the  walls  led  to  deeply  re- 
cessed openings,  all  of 
which  became  ulti- 
mately most  richly  dec- 
orated. It  would  seem 
that  this substantal nave, 
with  its  powerful  piers 
and  arches,  and  its  thick 
wall,  was  designed  to 
meet  the  greater  thrusts 
of  the  cross- vaulting. 
Yet  the  abbeys  and 
cathedrals  of  England 
had  at  first  the  fl  a t 
wooden  ceilings.  The 
side-aisles  were  vaulted, 
and  they  were  very  low, 
so  that  when  one  stepped 
from  them  into  the  nave 
there  seemed,  by  con- 
trast, much  greater 
height  to  the  ceiling 
above.  The  decorated 
Anglo-Norman  cathe- 
drals (Fig.  122)  have  in 
them  a beauty  all  their 
own,  unique,  unlike  that 
of  other  edifices  of  the  Romanesque  style.  And  it  may 
be  doubted  whether  the  impression  of  the  Gothic  cathe- 
dral is  more  churchly,  although  the  wonders  of  Gothic 
art  were  never  attained  in  the  Romanesque  style.  The 
eye  sees  at  every  glance  evidences  of  strength.  A small 


NAVE)  OF  CANTERBURY 
CATHEDRAE. 


Romanesque  Style. 


163 

moulding  has  its  support  on  the  summit  of  a pier ; you 
follow  it  upwards  and  it  runs  along  the  rib  of  the  nave- 
vault.  This  moulding  has  no  strength,  but  it  draws  the 
eye  to  the  masonry  in  the  gallery  and  clerestory,  which 
support  the  roofing  arch,  and  is  as  thick  as  the  support- 
ing pier  and  as  wide  as 
the  width  of  the  aisle. 

The  thickness  of  the 
massive  side-wall  of  the 
church  is  known  by 
the  splayed  windows  of 
the  aisle  and  the  win- 
dows high  up  in  the 
clerestory.  There  is 
beauty,  also,  in  this 
house  of  God,  not  the 
colored  glories  of  mo- 
saics, nor  the  sweet 
faces  of  saintly  women, 
robed  as  queens  or  as 
angels,  not  such  beauty 
as  the  artist’s  brush 
paints  on  walls ; but 
such  beauty  as  the 
sculptor  works  in  stone. 

The  sculptured  forms 
were  simple  and  few. 

Yet  light  and  shade  set 
them  all  into  bold  re- 
lief; for  each  separate  ornament  was  given  clear  outline. 
Deservedly  the  decorated  Anglo-Norman  style  is  the  pride 
of  the  English  people.  It  may  be  deficient  in  grace,  but 
it  has  the  beauty  of  strength,  simplicity,  and  truthful- 
ness. The  towers  of  this  Anglo-Norman  style  are  re- 
plete with  charms.  Fig.  123  gives  one  ; but  the  parapet 


Fig.  123. 


TOWER  OF  CASTOR  CHURCH, 
NORTHAMPTONSHIRE. 


164  Ecclesiastical  Architecture. 

and  spire  seem  later  additions.  It  is  simple  in  form,  hav- 
ing the  square  as  its  plan.  As  it  rises,  it  gains  in  beauty. 

Ornament  begins 
as  the  height  of  the 
nave  is  reached  ; 
the  first  story 
above  the  nave  is 
enriched  with  ar- 
cades,  having 
beautifully  mould- 
ed and  carved 
hoods  above  them; 
and  the  diamond 
adorns  the  rest  of 
the  story.  The 
string  course  is 
rich  in  its  corbels 
and  in  the  squares 
which  beautify  its 
face.  The  upper 
story  is  more  elab- 
orately  embel- 
lished with  orna- 
ment. The  secret 
of  this  architec- 
ture is  strength ; 
its  moral  is  that 
strength  assumes 
beauty  as  it  rises 
in  elevation  above 
the  earth. 

§The  Anglo=Saxon  Style.  There  are  edifices  which 
were  built  at  this  period  which  show  a marked  contrast 
with  this  Norman  style.  Yet  one  common  feature  is  pres- 
ent : both  styles  are  most  solid  in  construction.  The  va- 


FlG.  124. 


NAVE  AT  STONEHENGE. 


Romanesque  Style. 


165 

riety,  shown  in  Fig.  124  has  these  characteristics.  The 
columns  are  short  and  thick ; they  support,  with  their 
arches,  the  thick  nave-wall  above,  in  which  there  is  only 
a clerestory.  Horizontal  and  perpendicular  mouldings 
panel  the  walls.  The  building  recalls  those  which  the 
Saxons  in  France  raised.  The  nave  has  an  appearance 
like  the  Eatin  basilica.  The  simplicity  of  the  ornament, 
the  strength  of  the  structure,  harmonize  with  all  the 
great  elements  of  the  Saxon  character.  It  is  not  diffi- 
cult to  find  explanation  of  these  two  varieties  appearing 
at  the  same  time.  The  bishoprics  and  abbeys  were 
given  by  the  Norman  conquerors  to  foreign  Churchmen. 
These  came  from  the  dominion  of  France,  but  were 
chosen  from  those  who  were  friendliest  to  the  con- 
querors ; some  from  Normandy,  some  from  Saxony. 
These  latter  were  better  acquainted  with  the  Saxon 
character,  and  could  be  most  helpful  in  counseling  sub- 
mission to  the  Norman.  These  foreign  bishops  built  ac- 
cording to  the  style  to  which  they  were  accustomed. 
Hence,  in  England  there  are  churches  which  may  be 
called  the  Anglo-Saxon  Style.  These  churches  were 
erected  with  features  such  as  the  Saxons  loved,  and  from 
them  were  banished  the  more  obtrusive  Norman  char- 
acteristics. 

V.  IN  SPAIN. 

§ Political  Condition.  Spain  was  overrun  in  the 
9th  and  10th  centuries  by  the  Moors,  and  brought  under 
subjection.  ' Mohammedan  proselytism  touched,  with  its 
blighting  hand,  the  Christian  religion.  The  Moorish 
dominion  in  Spain  received  its  first  great  blow  when  the 
Christians  captured  Toledo  in  the  nth  century.  Chris- 
tian civilization  now  supplanted  the  Mohammedan  in 
the  northern  provinces,  and  with  its  advance  began  the 
appearance  of  the  Romanesque  architecture,  which  at 
this  time  had  spread  over  Europe. 


i66 


Ecclesiastical  Architecture. 


§ Architectural  Type.  Those  characteristics,  which 
are  French,  were  present  in  these  new  cathedrals  which 
were  built  in  Spain  during  the  nth  and  12th  centuries. 
Whether  the  use  of  the  dome  with  pendentives  was  in- 
troduced from  Southern  France  or  came  from  places 
where  Byzantine  influences  were  more  dominant,  is  but 
a matter  of  conjecture.  The  church  at  Compostella  is 
Romanesque,  having  a choir  with  an  ambulatory  about 
it,  lined  with  apsidal  chapels.  The  vault  over  the  nave, 
like  the  French  style,  was  cylindrical,  while  the  cross- 
vault was  used  over  the  aisles.  The  portals  were  es- 
pecially rich  in  their  carvings.  When  the  Norman 
princes  conquered  the  Sicilies,  they  built  Christian 
churches  in  form  like  those  in  which  they  were  accus- 
tomed to  worship,  but  ornamented  them  with  Moslem 
arches  and  arabesques.  On  the  contrary,  the  Christians 
who  reconquered  Spain,  at  first  banished  from  their 
churches  which  they  built  every  form  and  ornament 
which  could  remind  them  of  the  bitterly  hated  Moors. 

§ Resume.  The  Romanesque  church  received  mod- 
ifications as  it  was  builded  in  the  midst  of  different  na- 
tions. The  type,  however,  was  one,  and  its  construction 
was  followed  either  by  the  method  of  the  Latin  basilica, 
with  columns  supporting  a continuous  wall,  or  of  the 
Byzantine  basilica,  where  high  piers  and  arches  held  the 
roof,  and  between  these  piers  arcades,  or  even  solid 
masonry,  were  set  in.  The  Romanesque  church  was  in 
plan  a cross.  This  symbol  was  the  all-controlling  one  in 
the  church.  The  decoration  of  this  style  was  in  revolt 
to  that  of  the  past ; the  ancient  temples  furnished  no 
parallels  to  the  foliage  forms  in  the  Romanesque  style ; 
and,  indeed,  not  foliage,  but  geometrical  and  crystal 
forms,  were  the  most  common.  The  church  was  built 
at  first  by  the  clergy,  but  soon  the  princes  of  the  people 


Romanesque  Style. 


167 


and  their  sovereigns  were  important  in  all  matters  ec- 
clesiastical. Strife  existed  between  the  rival  powers, 
that  of  the  Church  and  State,  or  that  of  the  Pope  and 
the  sovereign.  The  adjustment  was  heralded  in  the 
changes  wrought  in  the  exterior  of  the  church  buildings. 
The  choir  lost  none  of  its  splendor,  but  rather  its  cupola, 
or  tower  above  the  crossing,  gave  increased  attraction  to 
this  portion  of  the  edifice,  which  had,  from  the  first,  re- 
ceived most  of  the  architect’s  attention.  But  towers  at 
the  west  end,  as  if  princely  guardians  of  the  church,  in- 
dicated the  great  change  within  the  body  politic.  The 
Romanesque  church  is  an  edifice  enshrining  the  form  of 
the  Roman  cross,  symbol  of  the  mission  of  the  clergy  ; 
noble  towers  stand  before  the  cross,  declaring  that 
princes  and  rulers,  who  are,  according  to  the  New  Tes- 
tament Scriptures,  ordained  of  God  with  authority, 
should  protect  the  rights  of  all  worshipers  from  every 
encroachment. 


Table  of  Romanesque  Churches* 

I.  IN  FRANCE. 


PLACE. 

EDIFICE. 

PART. 

CENTURY. 

A. 

EARLY 

PERIOD. 

Arles. 

St.  Trophime. 

Cloister. 

XI. 

Auxerre. 

St.  John. 

Tower. 

XII. 

Bourges. 

Cathedral  of. 

West  portal. 

XII. 

Clermont. 

Notre  Dame  du 

Apse. 

XI. 

- Port. 

Ditto. 

S.  Portal  and  Exterior 

XI. 

Details. 

Ditto. 

E.  and  S.  View. 

XI. 

Lyon. 

Church  of  Aiuy. 

W.  Facade. 

XI-XIII. 

Portiers. 

Ch.  St.  Hilaire. 

Apse. 

XI. 

N.  D.  la  Grande. 

XI. 

Rosheim. 

Church  at. 

Interior. 

XI. 

St.  Lo. 

Ch.  Santa  Croix. 

Interior. 

XI. 

Toulouse. 

St.  Sernin. 

Exterior  View,  N.  W. 

X-XV. 

B. 

PERFECTED 

PERIOD. 

Arles. 

St.  Trophime. 

Portal. 

XII. 

Bayeux. 

Cathedral  of 

Bas-relief  of  Nave. 

XII. 

Ditto. 

Interior. 

XII. 

Bordeaux. 

Ch.  St.  Croix. 

W.  Facade. 

XII. 

Chartres. 

N.  D. 

Interior. 

XII-XI1I. 

Laon. 

Cath.  of 

Second  Gallery. 

XII. 

Senlis. 

Cath.  of. 

Portal. 

XII. 

C. 

TRANSITIONAL 

PERIOD. 

Antun. 

Cath.  of. 

S.  E-  View. 

XII-XVI. 

Arles. 

St.  Trophime. 

Cloister. 

XII-XIII. 

Bayeux. 

Cath.  of 

W\  Fagade. 

XII-XV. 

Caen. 

St.  Etienne. 

Interior. 

XI. 

Laon. 

St.  Martin’s. 

W.  Portal. 

XII-XIV. 

Lonvier. 

Ch.  of. 

Interior. 

XII. 

Nouvion. 

Ch.  of. 

E.  and  S.  View. 

XII. 

Noyen. 

N.  D. 

N.  E View. 

XIII. 

Paris. 

St.  Denis. 

Interior. 

XIII. 

Rheims. 

St.  Remy. 

Choir. 

XIII. 

Souvigny. 

Ch.  of. 

W.  Facade. 

XIII. 

Vezelay. 

St.  Madeleine. 

W.  Fagade. 

XII-XIII. 

II.  IN  ITALY. 

A. 

Early 

PERIOD. 

Milan. 

St.  Ambrose. 

Tribune. 

XI. 

Parma. 

Cath.  of 

W.  Portal. 

XI-XII. 

Pavia. 

St.  Michele. 

W.  Fagade. 

XI. 

Pisa. 

Cath.  of. 

Interior. 

XI. 

Baptistery  of. 

Interior. 

XI-XII. 

Sienna. 

Cath.  of. 

Interior. 

XIII. 

Venice. 

St.  Marc. 

Interior. 

X-XI. 

Verone. 

Cath.  of. 

W.  Portal. 

XI-XII. 

St.  Zenon. 

Parts  of  Portal.  jXII. 

1 68 


Romanesque  Style. 


69 


II.  IN  ITALY. -Continued. 


PLACE. 

EDIFICE, 

PART. 

CENTURY. 

B. 

PERFECTED 

PERIOD. 

Genoa. 

St.  Laurient. 

W.  Portal. 

XII. 

Lacques. 

St.  Martin. 

Gallery  of  W.  Fagade. 

xii-xiir. 

Lingiers. 

Cath.  of. 

W.  Fagade. 

XII. 

Pisa. 

Campanile. 

XII. 

Bastistery. 

Fountain. 

XIII. 

Rosheim. 

Ch.  of. 

S.  W.  View. 

XII. 

Trent. 

Cath.  of. 

E View. 

XIII. 

Verone. 

St.  Zenon. 

Portal  and  S.  W.  View. 

XII. 

C. 

TRANSITIONAL 

PERIOD. 

Osti. 

Cath.  of  Madeleine. 

Facade. 

XI-XV. 

Padone. 

Cath  of. 

W.  Facade. 

XI-XIII. 

Sienne. 

Cath.  of. 

Interior. 

XIII. 

S.  W.  View. 

XIII-XIV. 

III.  IN  GERMANY. 

A. 

EARLY 

PERIOD. 

Andernach. 

Church  of. 

E.  S.  View. 

XI-XII. 

Bamberg. 

Cath.  of. 

Interior. 

XI-XII. 

Bonn. 

St.  Florentine. 

Interior. 

X-XII. 

Freiberg. 

N.  D.  of. 

View,  S.  E. 

XI-XVI. 

Mayence. 

Cath.  of. 

W.  View. 

XI-XIII. 

Spires. 

Cath.  of. 

W.  Fagade. 

XI. 

B. 

PERFECTED 

PERIOD. 

Basil. 

Cathedral. 

XII. 

Brunswick. 

Cathedral. 

XII. 

Coblentz. 

Church  of. 

XII. 

Hildersheim. 

St.  Godehard. 

XII. 

St.  Michael. 

XII. 

Johannisberg. 

Church  of. 

XII. 

Lubeck. 

Church  of. 

XII. 

Rosheim. 

Church  of. 

xir. 

Worms. 

Cathedral 

XII. 

Zurich. 

Cathedral. 

XII. 

C. 

TRANSITIONAL 

PERIOD. 

Cologne. 

St.  Gereon. 

N.  E.  View. 

XII-XIII. 

Neuss. 

Ch.  of  St.  Quintin. 

West  Fagade. 

XII. 

Worms. 

Cathedral. 

S.  Poi  tal. 

XII. 

Zurich. 

Cathedral. 

Lateral  View. 

XII. 

IV.  IN  ENGLAND. 

A. 

EARLY 

PERIOD. 

Carlisle. 

Cathedral. 

Nave  and  Transepts. 

End  of  XI. 

Durham. 

Cathedral. 

Gloucester. 

Cathedral. 

Nave. 

Hereford. 

Cathedral 

N.  and  Choir. 

Norwich. 

Cathedral. 

Rochester. 

Cathedral. 

Nave  and  W.  Front. 

“ 

Ecclesiastical  Architecture . 


170 


IV.  IN  ENGLAND.-Continued. 


PLACE. 

EDIFICE. 

PART. 

CENTURY. 

B. 

PERFECTED  AND 

TRANSITIONAL. 

Canterbury. 

Cathedral. 

Choir. 

XII. 

Chichester. 

Cathedral. 

XII. 

Ely. 

Cathedral. 

Nave. 

XII. 

Hereford. 

Cathedral. 

Nave  and  Choir. 

End  of  XI. 

Norwich. 

Cathedral. 

XII. 

Peterboro. 

Cathedral. 

XII. 

Waltham. 

Abbey. 

XII. 

N.  B. — 1.  The  parts  indicated  specially  illustrate  the  period. 

2.  The  dates  given  are  approximate,  usually  being  the  time  of  com- 

mencement of  the  edifice. 

3.  Of  course,  the  list  is  only  partial,  being  designed  to  point  out  the 

quite  contemporaneous  appearance  of  Romanesque  cathedrals 
and  churches. 


Chapter  VL 


GOTHIC  STYLE.  *2254500. 

§ Various  Designations.  There  is  great  difference 
of  opinion  as  to  the  proper  designation  of  that  architec- 
tural style  which  finds  expression  in  all  edifices,  mili- 
tary, civil,  and  religious,  from  the  beginning  of  the 
thirteenth  century.  The  constructive  employment  ex- 
clusively of  the  pointed  arch  characterizes  the  system. 
There  are  those,  therefore,  who  call  it  the  Pointed  Style. 
This  designation,  apart  from  its  accurate  description  of 
the  dominant  constructive  form  in  this  new  style  of 
architecture,  has  the  advantage  of  awakening  no  national 
prejudice.  The  question  as  to  whether  the  Germans,  or 
the  English,  or  the  French  have  best  right  to  name  the 
style,  is  not  raised  when  the  designation,  Pointed  Archi- 
tecture, is  used.  Germans  are  pardonable  when  they 
seek  to  name  it  the  German  Style,  basing  their  claim  on 
the  wonderful  perfection  of  the  edifices,  and  also  the 
number,  which  people  of  Germanic  stock  erected.  But, 
with  equal  right,  it  might  be  called  the  English  Style, 
since  on  English  soil  cathedrals  rise  scarcely  surpassed 
by  any  of  those  reared  on  the  Continent.  And  it  is  con- 
ceded by  both  German  and  English  that  a pointed  style 
of  architecture  appeared  first  in  the  North  of  France  in 
the  second  half  of  the  twelfth  century.  Therefore  it 
may  fairly  be  urged  that  the  new  architecture  is  the 
French  Style.  Several  writers  have  proposed  a name 
for  the  style  which  expresses,  likewise,  no  suggestion 
that  could  arouse  national  antipathies.  All  Christian 
architecture,  until  the  Gothic  appeared,  presented  obli- 
gations to  the  great  systems  developed  by  the  Greek  and 


172 


Ecclesiastical  Architecture. 


the  Roman.  But  the  Pointed  style  is  independent, 
showing  profounder  constructive  ability,  and  a series  of 
edifices  before  which  the  most  magnificent  achievements 
of  the  Pagan  world  in  architecture  must  be  acknowl- 
edged inferior.  It  was  within  the  pale  of  the  Christian 
Church  that  this  style  was  created  and  developed  into 
faultless  perfection.  Hence,  some  claim  that  it  is  pre- 
eminently Christian  architecture,  and  seek  to  designate 
it  by  this  name.  But  the  name  Gothic  Architecture  has 
successfully  held  its  place  against  all  competitors. 

§ Witness  to  Civil  Freedom.  The  eleventh  and 
twelfth  centuries  beheld  the  realization  of  Hildebrand’s 
fondest  hope — a vast  ecclesiastical  organization  under 
St.  Peter’s  successor,  the  vicegerent  of  Christ  on  earth. 
The  Romanesque  architecture  is  the  monument  of  this 
triumph  of  the  clergy.  The  most  loyal  Papists  were  cis- 
alpine. But  beyond  the  Alps,  in  transalpine  regions, 
some  bishops  dreamed  of  establishing  episcopal  sees, 
which  were  little  less  than  ecclesiastical  feudal  king- 
doms, giving  only  a formal  allegiance  to  Rome.  This 
was  a menace  to  the  Pope.  Beyond  the  Alps,  also,  the 
princes  and  kings  struggled  to  be  free  from  ecclesiastical 
domination.  In  the  midst  of  these  contending  forces, 
the  prelate  against  the  Pope,  the  civil  rulers  against  the 
successor  of  St.  Peter,  the  Gothic  style  of  architecture 
arose.  The  term  Gothic  was  given  to  it  in  derision  by 
the  Italians  ; but  this  despised  architecture  conquered 
prejudice  through  its  noble  forms  and  great  beauty,  and 
in  its  course  of  triumph  scaled  the  Alps,  and  planted 
Gothic  cathedrals  at  Milan  and  Vienna,  and  in  other 
principal  cities  of  Italy. 

§The  Architecture  of  the  Laity.  Gothic  architec- 
ture is  a new  type  ; a new  creative  power  brought  it 


Gothic  Style. 


i73 


into  existence.  Yet  not  the  priesthood,  as  in  Roman- 
esque architecture,  were  the  recipients  of  this  new  creative 
spirit,  and  then  the  promoters  of  this  new  architecture. 
The  laity  originated  and  built  the  Gothic  style.  There 
was  deep,  serious  purpose  in  the  social  revolution  of  the 
thirteenth  century.  It  was  not  an  effort  to  cast  off  the 
obligations  of  the  Christian  religion.  Rove  of  the  Papal 
Catholic  Church  was  as  deep  and  absorbing  as  love  of 
one’s  city.  But  the  bonds  of  its  priesthood,  irritating  at 
every  turn  in  life,  meddling  in  all  of  the  people’s  affairs, 
neglectful  of  the  proper  and  sacred  duties  of  the  serv- 
ants of  the  Church,  were  the  evils  against  which  the 
people  set  themselves  in  revolution.  The  might  of  the 
people  was  manifested  in  the  changes  which  they  ef- 
fected, through  their  princes  or  governors,  in  the  claims 
of  the  Pope.  Then,  too,  the  magnificent  constructive 
power  among  the  people  became  manifest  through  cathe- 
drals which  its  own  architects  designed  and  builded. 
Fraternities  or  guilds  of  Masons  were  formed  among  the 
laity,  to  whom  the  principles  of  the  new  architectural 
type  were  confided.  These  guilds  were  established  in  all 
great  cities,  and  were  devoted  to  the  extension  of  the 
Pointed  style. 

§ The  New  Triumphal  Arch.  It  was  a most  mo- 
mentous revolution  when  the  feudal  lord  in  his  castle,  as 
the  governing  power,  gave  place  to  the  walled  city, 
wherein  the  people  recognized  civil  authority  and  re- 
ceived the  benefit  of  laws.  Education  was  no  longer 
confined  to  the  priesthood  ; but  the  people  became  pos- 
sessors of  culture.  And  then  religious  life  in  the  Papal 
Church  had  its  best  exemplars  in  the  laity.  Christian 
architecture  was  from  the  first  strikingly  symbolical. 
The  whole  church,  in  the  days  of  persecution,  was  called 
the  nave.  When  Constantine  gave  imperial  recognition 


i74  Ecclesiastical  Architecture. 

to  the  triumph  of  Christianity  over  paganism,  the  new 
importance  of  the  Christian  religion  was  signalized  by 
the  triumphal  arch  before  the  choir  : and  within  this 
arch  the  religious  and  civil  rulers  sat.  The  establish- 
ment of  the  supremacy  of  the  Pope  was  the  victory  of 
the  clergy  over  sovereign  powers.  Thereafter  the  choir 
was  alone  for  the  clergy.  The  crossing  separated  the 
choir  from  the  nave,  wherein  the  people  and  their  civil 
rulers  attended  upon  worship.  The  Romanesque  church 
was  a Christian  symbol  in  being  cruciform,  was  also  the 
sign,  through  the  crossing,  of  the  separation  of  the  clergy 
from  the  laity  ; and  the  lesser  number  of  the  clergy 
led  to  the  adoption  of  the  L,atin  cross,  which  gave  the 
choir  less  length  than  the  nave.  The  choir  was  the  most 
splendid  part  of  the  edifice,  and  often  above  the  crossing, 
the  cupola  or  dome  rose,  adding  new  charms  to  the 
choir. 

The  time  came  when  careful  attention  was  directed 
towards  beautifying  the  western  facade,  the  entrance 
of  the  people  and  their  rulers  to  the  house  of  God. 
Attractive  decorative  features  above  and  about  the 
portals,  and  lofty  towers  on  each  side  of  the  central 
entrance  began  to  appear,  when  the  people,  as  a civil 
body,  under  authorities  not  ecclesiastical,  began  to  have 
larger  place  in  the  popular  mind.  Then  came  the  day 
of  the  triumph  of  the  civil  rulers  and  the  people  over 
the  Pope  and  his  priests.  Gothic  architecture  is  the 
memorial  of  this  triumph.  And  the  triumphal  arch, 
which  the  people  built,  was  placed  at  the  entrance  of 
the  church,  being  a triple  portal,  the  largest  opening  be- 
fore the  nave.  And  most  wonderful  is  this  arch  in 
beauty,  daring,  and  grace  : in  beauty,  because  of  its 
manifold  blending  of  exquisite  forms  and  ornament ; in 
daring,  because  of  the  amazing  height  of  its  spires;  in 
grace,  because  of  the  harmony  and  charm  of  all  its  parts. 


Gothic  Style. 


i75 


A . CONSTRUCTION  OF  THE  GOTHIC  CHURCH. 

§ Prior  Structural  Methods.  The  Latin  basilica 
was  a central  structure,  consisting  of  a nave  and  a choir, 
which  was  built  first  upon  columns  and  architrave,  then 
upon  columns  and  arches,  as  the  support  for  the  super- 
imposed walls.  This  central  structure  had  a side  counter- 
poise to  the  thrusts  in  the  shed-roofs  which  covered  the 
aisles.  The  Byzantine  church  was  a central  structure, 
consisting  of  high  piers  with  arches,  upon  which  a dome 
was  poised.  Walls,  meeting  each  other  at  right  angles, 
were  built  around  this  central  structure,  and  at  some 
distance  from  the  piers,  making  side-naves  ; and  from 
the  summit  of  the  walls  to  the  central  structure  vaulted 
roofs  were  thrown,  which  acted  as  buttresses.  The  Ro- 
manesque church  is  a central  cruciform  structure,  rest- 
ing its  roof  on  either  a wall,  supported  by  colonnades, 
as  in  the  Latin  basilica,  or  upon  arches  resting  upon 
lofty  piers,  as  in  the  Byzantine  church.  The  roofs  of 
both  arms  of  the  cross  are  gable-roofs,  and  of  the  same 
height.  This  central  cruciform  structure  of  the  Roman- 
esque church  has  walls  built  upon  the  sides  of  the  long 
arm,  forming  side-aisles,  and  from  their  summit  there  is 
thrown  shed-roofs  to  the  nave- walls,  and  these  roofs  but- 
tress them.  The  Gothic  architects  had  these  edifices  as 
teachers  in  the  constructive  principles  of  the  new  style, 
nor  did  they  ignore  instruction,  but  skillfully  availed 
themselves  of  the  help  which  earlier  architecture  prof- 
fered. 

§ The  Gothic  Structure.  It,  too,  has  a central  por- 
tion, built  upon  piers,  and  constituting  the  nave,  cross- 
ing, and  choir,  the  three  parts  which  make  the  church 
proper.  There  are  side-aisles  and  transepts,  which,  like- 
wise, are  built  upon  piers.  In  this  respect  the  edifice 
is  different  in  its  structure  from  that  of  the  Roman- 


176 


Ecclesiastical  Architecture. 


esque.  Fig.  125  will  make  clear  the  Gothic  construc- 
tion. This  engraving  presents  the  nave  and  the  side- 
aisles.  Observe  the  nave  rests  upon  columns,  support- 


Fig.  125. 


ing  square  piers.  A moulding  is  seen  along  the  face  of 
the  pier,  extending  to  the  transverse  rib.  Each  step  in 
the  filling-in  between  piers  is  traceable.  The  piers  of 
the  nave  and  the  aisle-piers  with  buttresses,  the  groined 
vault,  the  shed-roof,  the  flying  buttress,  are  to  be  no- 
ticed. Such  is  the  skeleton  of  the  Gothic  edifice. 


Gothic  Style. 


177 


§ The  Ground=pIan.  The  simplest  form  of  the 
Gothic  church  (Fig.  126,  a)  consisted  of  a choir  for  the 
officiating  and  worshiping  clergy,  and  a nave  for  the 
worshiping  people.  There  were  side-aisles  along  the 
choir  and  nave.  Sometimes  chapels  opened  into  them. 


Fig.  126. 


a.  NOTRE  DAME, 
MUNICH. 


b.  MINSTER  OF 
FREIBERG. 


c.  CATHEDRAE  OF 
AMIENS. 


This  plan  is  a nave-church,  like  the  ancient  basilicas. 
Splendid  length  in  the  nave  and  the  choir  was  the  first 
requisite  of  the  Gothic  style.  It  is  to  be  observed  that 
there  is  also  a change  in  the  intercolumniation  of  the 
piers.  The  distance  between  two  adjacent  piers  scarcely 
exceeds  half  the  breadth  of  the  nave,  scarcely  ever  two- 
thirds  the  breadth  of  the  nave.  Hence,  the  floor-divis- 
ions of  the  nave  are  no  longer  squares,  as  in  the  Ro- 
manesque style,  but  are  oblong.  The  Gothic  church  is 
more  generally  cruciform  (Fig.  126,  b).  The  parts  of 

12 


Ecclesiastical  Architecture. 


178 


the  church  then  were  choir,  transepts,  crossing,  and 
nave.  These  had  the  same  elevation,  and  their  roofing 
was  cruciform.  But  the  exterior  ground  form  was  not 
necessarily  so.  The  cross,  made  by  the  transepts  of  a 
Gothic  church,  was  the  Gothic  cross.  The  arms  met 
near  the  center,  and  so  resembled  the  Greek  cross ; but 
its  chief  characteristic  is  great  length  as  compared  with 
its  breadth.  The  most  perfect  Gothic  form  is  found  in 
those  churches  (Fig.  127,  c)  which  are  cruciform,  both 
within  and  without.  The  church,  then,  is  symbolic 
throughout,  a beautiful  cross  of  most  imposing  propor- 
tions, within  which  men  worship ; and  there  are  walks, 
having  chapels,  along  the  sides  of  this  cross,  where 
worshipers  may  kneel  in  prayer  or  sit  in  religious  medi- 
tation. The  magnificent,  almost  colossal  conceptions  of 
these  Gothic  builders  become  evident  by  a thoughtful 
consideration  of  the  three  plans  in  Fig.  127.  Notice  that, 


a.  CATHEDRAL  OF 
ULM. 


b.  NOTRE  DAME, 
PARIS. 


C.  CATHEDRAL  OF 
COLOGNE. 


in  form,  each  has  its  counterpart  in  Fig.  126;  but  the 
difference  is,  that  here  the  aisles  are  double  aisles.  The 


Gothic  Style. 


179 


building,  therefore,  assumes  grander  proportions.  The 
interior  bewilders  by  its  multitude  of  columns.  It  is  a 
veritable  forest  of  branching  piers,  making  noble  vistas 
both  in  the  nave  and  aisle.  The  Italians  called  this 
architecture  Gothic,  the  architecture  of  barbarians ; but, 
walking  among  the  columned  splendors  of  a Gothic 
church,  astonishing  by  their  number  as  well  as  charm- 
ing by  their  beauty,  one  feels  emotions  kindred  to  those 
which  come  when,  as  an  appreciative  observer,  he  goes 
over  the  tree-lined  paths  of  a forest,  seeing  arches  of 
leafy  branches  overhead  and  long  pathways  before  him, 
checkered  with  light  and  shade,  and  terminating  in 
openings  of  glowing  sunshine. 

§ Gothic  Nave.  The  Gothic  church  is  only  under- 
stood in  its  full  import  and  seen  in  its  greatest  splendor 
when  one  stands  within  the  western  portal,  and  looks 
along  the  nave  towards  its  eastern  extremity.  The 
long  vista,  and  the  beauty  of  the  choir-windows,  as  the 
sunlight  falls  upon  the  colored  glass ; the  noble  height 
of  the  nave,  formed  by  the  branching  of  columns  and 
ornamented  with  the  matchless  art  of  sculptors  who 
wrought  under  the  inspiration  of  a new-born  era, — all 
these  objects  conspire  to  create  in  the  mind  of  the  ob- 
server a vivid  impression  of  the  genius  and  the  intel- 
lectual resources  of  men  who  could  fashion  stone  into 
such  peerless  forms,  and  blend  colors  into  such  lovely 
combinations  as  greet  his  eyes  and  awaken  his  bound- 
less admiration.  In  the  Romanesque  church,  which  the 
clergy  designed  and  builded,  one  stood  at  the  crossing, 
in  front  of  the  choir,  and  from  there  the  full  greatness 
and  beauty  of  the  church  became  apparent.  But  in  the 
Gothic  church,  which  the  people  designed  and  builded, 
the  observer  stood  in  the  portal,  beneath  the  people’s 
triumphal  arch,  and  beheld  the  expression  of  that  genius 


i8o  Ecclesiastical  Architecture. 

with  which  God  had  endowed  his  people.  A view  of 
the  nave  and  choir  of  Lincoln  Cathedral  (Fig.  128)  will 
enable  us  better  to  understand  the  reason  why  the 
Gothic  nave  is  peerless  among  architectural  structures. 
It  is  such  a view  as  one  would  have  when  standing  at 
the  western  portal.  The  nave-piers  and  arches  reach  to 
comparatively  great  height,  with  no  ornament  but  the 
flowers  in  the  capitals  of  the  clustered  columns  and  the 
quatrefoil  in  the  spandrels.  The  triforium  has  similar 
ornamentation  in  the  capitals  of  its  clustered  columns, 
and,  in  addition,  the  archivolts  are  beautifully  decorated. 
The  clerestory  is  beautified,  but  its  most  striking  orna- 
ment is  the  cluster  of  rib-mouldings,  spreading  grace- 
fully out,  and  making  the  high  vault  of  the  nave.  The 
eye  wanders  down  the  nave  and  along  the  splendors 
of  the  choir.  And  the  eastern  windows  of  the  choir,  if 
their  colors  be  touched  with  the  sunlight,  seem,  to  the 
observer,  the  jeweled  portals  to  unspeakable  splendors 
beyond.  One  feels  that  worship  in  this  church  is  on 
God’s  great  highway,  with  his  servants,  the  pastor  and 
the  flock,  standing  in  awe  before  the  visible  splendors 
of  God.  The  talismanic  thought  in  this  nave  is,  that 
“ ye  are  one  in  access  unto  the  Father.” 

§ Western  Facade  with  Central  Tower.  The 

Gothic  edifice  is  remarkable,  not  alone  for  the  grandeur 
of  its  nave,  but  also  for  the  majestic  beauty  of  its 
towers.  One  type  of  Gothic  church,  as  judged  from 
without,  has  a central  tower  in  the  western  front. 
The  portal,  through  which  the  people  enter  into  the 
church,  consists  of  a single  pointed  and  deeply-re- 
cessed doorway.  It  is  an  archway  through  a tower  of 
imposing  height  and  graceful  form.  Over  one  of  the  an- 
cient ways  of  Rome  it  would  be  called  a triumphal  arch, 
having,  like  that  of  Titus,  but  a single  passage  way. 


Gothic  Style. 


181 


Fig.  128. 


nave;  and  choir,  eincoen  cathejdrad. 


182 


Ecclesiastical  Architecture . 


Fig.  129. 


Freiberg  Cathedral  (Fig.  129)  presents  this  type.  The 
tower  is  the  foundation  for  the  octagonal  spire,  which 
below  is  a prism  with'  eight  sides,  above  a pyramid  with 

eight  faces.  The  genius  of 
the  artist  transformed  these 
sides  and  faces.  Each  side 
was  a frame-work,  inclos- 
ing tracery  like  that  in  the 
windows  of  the  church. 
Gables,  with  crockets  and 
the  cruciform  flower,  com- 
plete each  side,  and  at  the 
angles  were  placed  pin- 
nacles. The  faces  of  the 
pyramid  are  perforated 
with  the  quatrefoil  and  the 
trefoil.  The  top  of  the 
spire  is  a magnificent  cru- 
ciform flower.  Art,  per- 
haps, never  attained  so  sig- 
nal a triumph  as  in  the 
perfected  Gothic  spire. 
Grace  of  form,  daring 
height,  strength,  united  to 
an  apparently  delicate  and 
fragile  structure — yes,  such 
strength  as  defied  the 
angriest  of  storms ; all 
these  charms  are  combined 
in  the  Gothic  spire  in  most 
beautiful  harmony.  And 
this  spired  tower  is  the 
Gothic  archway  through 
which  the  people  enter 
cathedrae.  into  the  house  of  God, 


Gothic  Style. 


183 


Fig.  130. 


§ Western  Facade  with  Corner  Tower.  The 

Gothic  architects  were  a class  of  the  people.  These 
architects  had  love  in  their  hearts  for  their  work ; had 
also  knowledge  of 
what  other  men 
had  wrought  in 
the  domain  of  ar- 
chitecture ; there- 
fore, their  works, 
inspired  by  love 
and  perfected  by 
knowledge,  never 
cease  to  have  in- 
struction for  all 
beholders.  The 
western  facade, 
with  a corner 
tower  (Fig.  130), 
is  a second  type. 

The  portal  portion 
is  a separate  struc- 
ture, joined  to  the 
nave  and  the 
tower.  This  sepa- 
ration from  the 
nave  is  evident 
from  the  decora- 
tive gable  above 
the  rose-window ; 
for  behind  it  is  the 

c , . r ST.  PIERRE,  AT  CAEN. 

roof-gable  of  the 

nave.  There  is  a noticeable  lack  of  harmony  in  the 
three  features  of  this  western  fagade.  The  south  aisle 
of  the  church  has  its  western  termination  in  the  great 
spire ; the  north  aisle  has  a windowed  wall  before  it 


1 84  Ecclesiastical  Architecture. 

and  a small  tower  at  tlie  corner.  The  central  portion 
before  the  nave,  has  buttresses  at  its  sides,  corresponding 
to  the  towrer  and  the  small  north  turret.  This  facade 
is,  therefore,  three  dissimilar  constructions,  united  into 
a kind  of  unity.  Often  the  three  parts  were  made  to 
blend  harmoniously ; and  then  the  fagade,  with  a corner 
tower,  became  very  attractive;  and  always,  the  slender 
and  powerful  spire,  with  its  sculptured  beauty  and  dizzy 
height,  made  the  observer  feel  that  these  Gothic  archi- 
tects had  learned  the  secret  by  which  stone  had  lost 
both  its  hardness  and  its  weight. 

§ Western  Facade  with  Two  Towers.  The  per- 
fected Gothic  portal  is  simply  the  Triumphal  Arch  of 
Constantine  (vide  Fig.  41),  with  towrers  above  the  side 
archways.  This  two-towered  western  fagade  is  the  most 
magnificent  feature  of  Gothic  architecture.  Bach  of 
the  modern  nations,  except  the  Italian,  loved  this  Gothic 
front.  The  western  fagade  of  the  Cathedral  of  York 
(Fig.  131)  well  represents  this  type.  The  central  portal 
is  deeply  recessed,  and  its  receding  arches  and  its  bev- 
eled door-jambs  are  adorned  with  sculpture.  Some- 
times the  head  of  the  portal’s  arch  was  filled  with  geo- 
metrical forms,  but  usually  with  a sculptured  group 
representing  our  Lord  in  some  one  of  the  many  scenes 
in  which  he  “manifested  forth  his  glory.”  These  scenes 
were  fields  of  action  for  men,  as  when  they  took  the 
Christ  and  crucified  him,  or  else  places  of  apocalypse,  as 
when  our  Lord  rose  from  the  tomb.  The  Gothic  por- 
tal records  in  stone  these  fundamental  truths  of  the 
Christian  Church,  and,  in  so  doing,  follows  the  example 
set  in  the  portal  of  the  Romanesque  church.  Panel- 
work,  formed  by  arcades  with  the  pointed  arch,  deco- 
rates the  flat  surfaces  of  this  western  fagade.  There  was 
above  the  main  portal  either  a splendid  pointed  wim 


Gothic  Style. 


185 


dow,  or  else  a magnificent  rose-window,  through  whose 
painted  glasses  the  sunlight  streamed,  in  colored  bands, 
along  the  length 
of  the  nave.  Each 
tower  was  com- 
pleted in  harmony 
with  the  center. 

The  side  doorways 
were  smaller,  but 
recessed  and  en- 
riched with  sculp- 
ture. A pointed 
window  above  the 
door  flashed  light, 
broken  up  into 
brilliant  colors, 
down  the  aisles  or 
along  the  galleries. 

Nor  was  the  upper 
face  of  the  tower 
neglected;  for 
often  a beautiful 
pointed  window 
adorned  this  part. 

The  architect  mar- 
shaled all  his  gen- 
ius to  make  splen- 
did this  western  facade  of  the  Gothic  cathedral.  And 
it  stands,  for  beauty  and  grace  and  wondrous  height, 
an  architectural  feat  unsurpassed. 

§ Pointed  Arch.  A single  constructive  system  is 
prevalent  in  all  truly  Gothic  architecture.  The  pointed 
arch  is  the  essential  element  of  this  system,  and  is  the 
secret  of  its  overpowering  effects.  It  is,  therefore,  of 


Fig.  131. 


CATHEDRAL  OP  YORK. 


i86 


Ecclesiastical  Architecture. 


highest  importance  to  understand  the  formation  of  this 
arch  as  well  as  its  constructive  use.  There  are  three 
forms  of  the  pointed  arch  (Fig.  132)  employed  in  Gothic 
architecture  : The  equilateral,  in  which  the  nave-piers 
are  the  centers  for  the  circles,  of  which  the  sides  of  the 
arch  are  the  arcs.  When  the  centers  are  within  the 
points  of  support,  the  pointed  arch  is  oblique  ; when 
these  centers  are  without  the  points  of  support,  the  arch 
is  acute.  The  oblique  arch  is  nearest  in  shape  to  the 


Fig.  132. 


FORMS  OF  THE  POINTED  ARCH. 

round  arch.  The  pointed  arch,  with  the  same  inter- 
columniation  of  the  piers,  had  greater  height  than 
the  circular  arch.  When,  therefore,  Gothic  architects 
adopted  it,  the  oblong,  instead  of  the  square,  deter- 
mined the  subdivisions  of  the  nave.  Also,  that  remark- 
able altitude  was  attained  for  the  nave-walls  by  means 
of  the  pointed  arch,  which  has  ever  been  regarded  as 
one  of  the  most  imposing  features  of  the  Gothic  style. 
There  was,  further,  most  decided  mechanical  advantages 
arising  from  the  employment  of  the  pointed  arch.  As 
a support,  the  arch  brought  the  superimposed  weight 
nearer  the  vertical  line  than  the  round  arch.  It  was 
this  peculiarity  which  led  to  the  use  of  the  Gothic 
slender  buttress.  Early  Gothic  gave  preference  to  the 
acutely  pointed  arch.  The  angle  and  vertical  line  is 
the  secret  of  the  ornamentation,  the  pointed  arch  the 
secret  of  construction  in  a Gothic  edifice. 


Gothic  Style. 


187 


§ Cross-section  of  a Pier.  The  rich  mouldings  of 
the  Gothic  pier  (Fig.  133)  are  really  servants  to  the 
superimposed 

constructions.  F|G-  l33. 

Therefore,  the 
Germans  call 
them  servants. 

The  longitudinal 
and  the  trans- 
verse arches  have 
mouldings  equal 
in  size  and  of  the 
same  shape.  Be- 
tween  them  are 
the  mouldings  for 
the  diagonal  arch- 
es. The  pier  is  a 
solid,  massive  cen- 
ter, surrounded 
by  these  various 
mouldings.  Only 

in  the  richer  character  of  mouldings  do  these  piers  dif- 
fer from  those  belonging  to  the  Perfected  Romanesque 
style.  The  structural  principle  in  both  is  the  same. 


A PIER’S  CROSS-SECTION. 


§ Pier  and  Its  Arches.  The  construction  of  the 
pier  is  now  to  be  considered.  There  is  a center  of  solid 
masonry,  around  which  are  builded  vaulting  shafts.  The 
capital  of  the  vaulting  shaft  for  the  transverse  arch  over 
the  nave  is  raised  high  above  the  capitals  of  the  other 
vaulting  shafts.  The  arches  of  the  nave-arcades  have 
their  shafts  the  same  height  as  the  shaft  of  the  aisle. 
The  vaulting  shaft  upon  the  sidewall  corresponds  with  its 
opposite  shaft  upon  the  pier.  So  far  as  the  central  mass 
and  its  moulding  through  vaulting  shafts  are  concerned, 


i88 


Ecclesiastical  Architecture. 


Fig.  134. 


this  pier-formation  differs  in  no  respect  from 
that  employed  in  the  vaulted  naves  of  the  Ro- 
manesque style.  But  the  great  length  of  the 
nave-vaulting  shaft  (Fig.  134),  and  the  addi- 
tional height  secured  by  the  pointed  arch, 
gave  the  Gothic  nave  a distinct,  and  new,  and 
most  impressive  character ; and  our  admiration 
increases  as  we  discern  how  compactly  all  is 
builded,  and  how  richly  these  moulded  shafts 
decorate  this  essential  support  of  the  Gothic 
structure. 

§ Gothic  Constructive  System.  The 

great  arcades  of  the  Gothic  church  were  the 
arcades  of  the  nave,  of  the  transepts,  and  of 
the  choir.  A system  of  pointed  arches  upon 
tall,  slender  shafts  (Fig.  135) 
supported  the  roofs  above  the 
nave-arcades.  The  aisle-ar- 
cades were  of  lesser  height, 
and  assisted  in  solving  the 
problem  of  how  to  make  this 
central  structure  stable.  Its 
longitudinal  thrusts  were 
counterpoised  mainly  by  the 
western  front  and  the  choir 
at  the  east.  The  tranverse 
thrusts  were  met  by  the  aisle- 
piers,  buttresses,  and  flying 
buttresses  to  the  nave-piers. 
New  static  laws  were  there- 
fore involved  in  this  Gothic 
structure,  revolutionizing,  by 
obedience  to  them,  all  archi- 
tectural construction. 


NAVE  AND  AISLE  CONSTRUC- 
TION, CATHHDRAL  AT 
halberstadt. 


Gothic  Style. 


89 


Fig.  135. 


§The  Nave=bay  and  Vault.  The  filling-in  between 
two  adjacent  nave-piers  made  the  bay  of  the  nave.  It  was 
divided  (Fig.  135),  like  the  bay  of  the  Romanesque  style, 
into  the  nave-arch, 
the  triforium,  and 
the  clerestory.  The 
greatest  freedom  is 
shown  in  the  treat- 
ment of  these  three 
parts.  Sometimes 
frieze  separated  the 
lower  from  the  up- 
per, division ; some- 
times the  triforium 
and  the  clerestory 
seemed  to  be  but  a 
single  whole,  a kind 
of  magnificent  win- 
dow, set  above  the 
nave-arch.  Espe- 
cially is  this  impres- 
sion made  in  those 
cathedrals  where  the 
triforium  is  not  a 
gallery,  but  trans- 
parent. Greatest 
variety  is  given  to 
the  mouldings  of  the 
nave-piers — now  they  seem  to  be  but  columns  placed 
above  columns,  marking  very  clearly  the  several  divi- 
sions of  the  bay;  now  the  mouldings  seem  part  of  one 
tall  shaft,  supporting  the  arches  of  the  nave,  of  the  tri- 
forium, and  of  the  clerestory.  In  the  latter  case  the  nave 
seemed  a structure  all  harmonious,  as  if  one  principle  of 
growth  dominated,  changing  all  it  appropriated  into  a 


TRANSVERSE  SECTION,  CATHEDRAE 
OF  AMTENS. 


iqo  Ecclesiastical  Architecture. 

consistent  organism.  The  mullions,  like  columns,  sup- 
ported arches,  trefoils,  quatrefoils,  multifoils,  making  the 
beautiful  window-traceries  of  the  clerestory,  or  the  grace- 
ful arcades  of  the  triforium.  Upon  the  mouldings  of 
the  nave-piers  were  set  the  transverse  and  diagonal  ribs, 
on  which  was  constructed  the  nave-vault.  These  ribs 
were  richly  moulded  in  the  perfected  style,  and  so  the 
difference  in  the  mouldings  of  the  ribs,  as  well  as  the 
mouldings  of  the  piers  and  the  tracery  of  the  windows, 
become  most  helpful  in  determining  the  period  to  which 
the  edifice  belongs. 

§ The  Aisle=bay  and  the  Buttresses.  The  aisle- 
pier  (Fig.  135)  was  a moulded  pier,  corresponding  to  the 
moulded  pier  of  the  nave.  There  were  transverse  and 
diagonal  ribs,  springing  from  these  mouldings,  for  the 
vaulting  of  the  aisle.  The  windows  between  these  aisle- 
piers  were  beautified  with  tracery  similar  to  the  tracery 
in  the  clerestory.  Above  the  aisle-vaulting  is  seen  the 
shed-roof,  which  is  not  only  a covering  for  the  aisle,  but 
a buttress  for  the  nave.  The  clerestory  was  strength- 
ened by  a device  as  daring  as  it  was  graceful  and  beauti- 
ful. The  aisle-pier  was  first  strengthened  by  a buttress 
in  order  to  meet  better  the  thrusts  of  the  aisle-vault. 
These  buttresses  were  extended  upward,  and  from  this 
upper  part  flying  buttresses  were  sprung  to  the  nave. 
The  charm  of  the  Gothic  cathedral  depends  as  much 
upon  the  buttresses  and  their  decoration  as  upon  any 
other  feature  which  greets  the  eye. 

§ Exterior  of  the  Aisle  and  Nave.  The  buttress  in 
its  lower  portion  (Fig.  136)  had  water-tables  corre- 
sponding to  the  wall-parts  between  them.  Water-spouts, 
called  gargoyles,  often  of  fanciful  forms,  were  built  in 
the  buttress  at  the  height  of  the  roof’s  eave.  The  but- 


Gothic  Style. 


191 

tress  was  then  narrowed  as  it  was  builded  upward. 
Often  a tabernacle  finial  surmounted  the  buttress,  shel- 
tering within  its  niche  the  effigy  of  some  saint.  A 
finial  was  set  above 
the  place  where 
was  the  impact  of 
the  flying  buttress 
upon  the  nave- 
wall.  These  beau- 
tiful finials,  each 
having  its  summit 
adorned  with  the 
cruciform  flower, 
made  beautiful  or- 
naments along  the 
eaves  of  the  nave. 

The  windows  of 
the  aisle,  and  above 
them  the  windows 
of  the  nave,  beau- 
tified the  spaces 
between  the  wall- 
buttresses.  Slen- 
der mullions,  sup- 
porting foliated 
arch-heads,  made 
the  window-tra- 
cery. The  exterior  walls  of  the  Gothic  church  are 
unique  in  all  architecture.  Necessary  supports  were 
transformed,  given  graceful  forms  and  clothed  with 
beauty.  The  openings  through  which  light  entered  the 
edifice  challenged  attention,  because  it  seemed  as  if  the 
building  was  constructed  in  order  to  present  as  little  ob- 
struction to  the  sunlight  as  it  was  possible.  The  shrine 
of  pagan  temples  abode  in  darkness.  But  the  highest 


Fig.  136. 


side;  vie:w,  strasburg  cathedrae. 


19 2 Ecclesiastical  Architecture . 


GOTHIC  ORNAMENTATION. 


Gothic  Style. 


i93 


type  of  the  Christian  church  seemed  to  threaten  the  sta- 
bility of  the  structure  in  order  that  light  might  be 
poured  in  upon  the  choir  and  the  nave,  the  altar-place 
and  the  great  highway  before  the  altar.  These  Gothic 
architects,  laymen  of  the  Church,  loved  the  light,  and 
sought  to  flood  their  edifice  with  its  glory.  The  marvel 
of  Gothic  genius  is,  that  it  made  the  useful  beautiful, 
that  it  transformed  mere  supports  into  ornaments,  that 
it  empowered  the  beauty  within  to  permeate,  with  its 
own  charms,  the  outer  walls  of  the  church. 

§ Gothic  Ornamentation.  This  Gothic  structure, 
wherein  all  was  compactly  builded  together,  must  needs 
have  appropriate  adornment.  The  Gothic  architects  em- 
ployed geometrical  ornamentations,  yet  they  seem  en- 
tirely different  from  the  cordate  forms  common  to  classical 
architecture,  and  different  from  the  lace-like  patterns  of 
the  Byzantine  style.  It  was,  however,  in  the  sculptured 
forms  and  shapes  (Fig.  137)  that  Gothic  architecture  pre- 
sented almost  entire  originality.  It  abandoned  the  clas- 
sical forms  of  the  egg  and  pearl  beading ; it  rejected  the 
nail-heads,  the  cable,  the  chain,  the  lozenge,  and  other 
shapes  of  the  Romanesque  style,  and  returned  to  the 
botanical  forms  of  nature.  The  forest  trees,  the  vines 
and  plants  of  the  field,  yes,  even  vegetable  forms  of  the 
garden,  are  sculptured  in  the  archivolts,  frieze,  and  cap- 
itals of  the  Gothic.  Indeed,  at  every  step  in  this  Gothic 
construction,  man  paused  to  beautify  his  handiwork. 
He  loved  his  toil,  and  its  inspiring  power  called  forth  all 
his  endowments.  These  men  knew,  in  their  hearts,  that 
they  were  engaged  in  the  greatest  architectural  construc- 
tion of  all  ages,  and  that  coming  centuries  would  utter 
their  praises  and  be  inspired  by  the  work  of  their 
hands.  Hence,  they  borrowed  their  forms  from  the  Archi- 
tect of  the  universe,  and  built  with  patience  and  love. 

13 


194  Ecclesiastical  Architecture. 

§ Pointed  Architecture.  A tranverse  section  of  the 
Gothic  church  (Fig.  138)  will  make  apparent  the  aptness 
of  the  expression  Pointed  Architecture  to  designate 
Gothic  peculiarities.  The  nave  is  completed  by  a pointed 


Fig.  138. 


CATHEDRAL  AT  HARBERSTADT,  CROSS-SECTION. 


arch ; so,  too,  are  the  aisles.  The  buttress,  the  aisle- 
pier,  the  nave-pier,  are  each  terminated  by  a finial ; a 
cross-section  of  the  gable-roof  is  a point.  Classical  arch- 
itecture is  horizontal ; column  and  architrave  were  the 
unities  of  its  strength.  Gothic  architecture  is  perpen- 
dicular : the  buttress,  the  pier,  the  pointed  arch,  are  the 
secrets  of  its  daring  height.  Stability  is  present  in  each 
branch  of  architecture.  But  it  was  secured  in  the  clas- 
sical buildings  by  the  strength  of  great  masses  of  stone, 


Gothic  Style. 


i95 


and  from  this  source  comes  the  impression  which  they 
give  of  solidity  and  massiveness.  In  Gothic  buildings, 
however,  stability  was  obtained  by  new  static  laws,  in 
obedience  to  which  a multitude  of  smaller  blocks  could 
be  fashioned  together  into  one  whole,  so  strong  that  the 
shocks  of  storms  and  the  decay  of  time  were  success- 
fully defied.  It  is  now  apparent  through  what  means 
the  lofty  walls  of  the  Gothic  nave  were  sustained.  The 
side-thrust  was  counterpoised  by  the  flying  buttress  ; and 
the  wall  buttress,  from  which  it  sprung,  had  the  mass 
increased  by  the  superimposed  pinnacle.  Profound  was 
the  knowledge  of  static  laws  revealed  in  these  Gothic 
churches.  Infinite,  almost,  was  the  painstaking  of  those 
who  chiseled  out  in  stone  their  separate  parts,  and  laid 
them  in  their  appropriate  places.  Men  must  be  serious 
and  thoughtful  to  understand  these  workmen.  A glance 
at  their  work  will  please  the  most  superficial  observer; 
a study  of  the  symmetry  and  beauty  of  their  churches 
will  elevate  and  refine  each  faithful  student. 

B.  EARLY  GOTHIC  STYLE,  1225  = 1300. 

§ The  Designation.  Early  Gothic  indicates  a period 
of  development  in  the  Gothic  style.  Among  the  French, 
this  period  is  called  Ogival  en  Lancette , or  the  Lancet- 
pointed  Style.  The  French  indicate  in  this  way  the 
fact  that  early  Gothic  structures  employed  the  acutely- 
pointed  arch.  It  is  not  to  be  understood  because  Gothic 
architecture  is  divided  into  periods  that  therefore  all 
Gothic  edifices  are  to  be  classified  into  three  groups.  A 
single  cathedral,  not  unfrequently,  has  parts  belonging 
to  each  of  these  periods,  because  all  great  cathedrals 
were  many  decades  in  building;  a few  required  even 
centuries.  Yet  there  is  a general  uniformity  of  charac- 
ter in  the  great  cathedrals  which  readily  assigns  them 
to  some  one  of  these  three  divisions. 


3 96  Ecclesiastical  Architecture. 

§ Obligation  to  the  Romanesque.  The  Gothic  type 
was  new;  nevertheless,  the  edifices  of  the  early  Gothic 
style  show  the  influence  of  the  Romanesque  style. 
It  could  not  be  otherwise;  for  the  authors  of  the  Ro- 
manesque style,  the  clergy  of  the  Christian  Church,  were 
the  conservators  of  all  arts  in  those  days  when  the  Ger- 
manic peoples  were  taking  upon  themselves  the  obliga- 
gations  of  religion  and  citizenship.  Then  the  clergy 
built  great  churches,  wherein  architecture  and  sculpture 
could  best  be  studied.  Hence,  these  edifices  influenced 
mightily  early  Gothic.  Constructive  principles,  not  the 
decoration  of  the  supports  and  the  ornamentation  of  the 
openings,  occupy  the  mind  of  those  wTho  originate  a new 
type.  The  harmonious  blending  of  all  the  features  of 
an  edifice  is  the  w7ork  of  those  architects  who  receive 
the  new  constructive  principles  and  share  the  noble 
aims  which  inspired  the  originators.  Those  who  per- 
fected the  Gothic  type  inherited  the  new  form  and  all 
the  mutual  relationships  of  its  various  parts ; then  they, 
under  an  enthusiastic  love  for  the  new  type,  revealed 
the  marvelous  beauty  with  w7hich  the  new  type  might 
be  clothed,  and  gave  to  men  the  perfected  Gothic  cathe- 
dral, an  architectural  structure  so  wonderful  in  its  dar- 
ing and  so  graceful  and  lovely  in  its  symmetry  and  orna- 
ment that  it  crowns  man  with  glory  and  honor. 

§ Early  Gothic  Facade  with  Arcades.  The  new 

adjustment  between  the  State  and  Papacy  brought  about 
increased  activity  in  church  building.  Old  edifices  were 
remodeled,  new  cathedrals  w7ere  erected.  Those  places 
most  progressive  threw  off  first  the  Romanesque  features 
in  their  churches.  Hence,  it  occurs  that  some  churches 
of  a late  date  show  more  of  the  Romanesque  charac- 
teristics than  do  earlier  churches.  The  Cathedral  of 
Coutances  (Fig.  139)  is  Gothic  in  the  splendid  altitude 


Gothic  Style. 


i97 


of  its  choir,  nave,  and  spires;  it  is  early  Gothic  in 
the  comparative  plainness  of  its  flying  buttresses  and 
finials;  the  lancet- 
pointed  arches 
are  evidences  of 
the  early  Gothic. 

But  the  long, 
narrow,  perpen- 
dicular divisions 
of  the  tower- 
fronts  are  re- 
minders of  the 
Romanesque 
rather  than  the 
Gothic  style. 

The  western  fac- 
ade, it  is  true,  has 
minor  decorative 
details  which  be- 
long to  the  later 
Gothic,  and  the 
tower  above  the 
crossing  was 
built  in  the  pres- 
entcentury;  still, 
the  whole  impres- 
sion of  this  edifice 
is  Gothic.  However,  the  Gothic  principles  and  modes 
of  decoration  had  not  been  emancipated  from  the  influ- 
ences of  the  Romanesque  style.  As  far  as  classification 
may  be  made  of  church  edifices,  this  cathedral  is  early 
Gothic,  having  the  lancet-arch ; the  almost  solid  tower 
beneath  the  spires,  with  long,  narrow  arcades  upon  its 
face ; the  appearance  of  the  triple  portal  between  the 
towers ; and  a well-buttressed  nave. 


Fig.  139. 


CATHEDRA!,  OF  COUTANCFS. 


198  Ecclesiastical  Architecture. 

§ Early  Gothic  Facade  with  Buttresses.  The 

north  tower  is  decorative  Gothic;  otherwise,  the  western 
facade  (Fig.  140)  is  early  Gothic,  and  shows  evidence  of 

advance  upon  the 
Cathedral  of  C011- 
tances.  The  face 
of  the  towers  is 
divided,  not  by 
long,  narrow  ar- 
cades, but  by  huge 
buttresses.  These 
same  tower-faces 
are  separated  into 
stories,  and  all 
above  the  first 
have  pointed  win- 
dows in  them. 
The  triple  portal 
is  still  built  be- 
tween the  towers, 
bu.  the  central 
portion  is  more 
richly  adorned.  A 
triple  window  is 
above  the  portal, 
and,  higher  still, 
is  a beautiful  rose-window.  The  kinship  between  the 
two  fagades  is  at  once  evident — the  Romanesque  like- 
ness is  seen  in  both ; yet  the  advanced  Gothic  develop- 
ment in  this  fagade  seems  to  separate  it  distinct  and 
clear  from  any  Romanesque  fagade.  Perhaps  no  cathe- 
dral can  offer  better  examples  of  the  three  periods  of  the 
Gothic  than  this  same  Cathedral  of  Chatres.  The 
general  character  of  the  western  fagade  is  early  Gothic 
excepting  the  northern  spire,  which  is  the  late  Gothic, 


Fig.  140. 


CATHEDRAL  OF  CHATRES. 


Gothic  Style. 


199 


or  Flamboyant  Decorative.  The  .south  porch  is  one  of 
the  finest  examples  of  perfected  Gothic. 

Before  leaving  this  early  Gothic  facade  of  the  Cathe- 
dral of  Coutances  (Fig.  139),  attention  should  be  directed 
to  the  arcade  between  the  two  massive  towers,  making 
a series  of  niches  for  statues  above  the  rose-window.  This 
arcade  answers  to  those  arcades  in  the  Romanesque  style 
beneath  the  gable.  The  suggestion  of  this  arcade  may 
be  traceable  to  the  Romanesque,  but  the  handling  of  it 
is  Gothic,  and  becomes,  in  later  edifices,  one  of  the  most 
remarkable  beauties  of  the  western  facade.  The  light- 
apertures  in  this  facade  of  the  Cathedral  of  Chatres  are 
most  noticeable.  They  all  open  into  the  lofty  nave. 
And  there  was  peculiar  impressiveness,  as  well  as  splen- 
dor, when,  at  the  vesper  service,  the  low  western  sun 
sent  its  last  rays  down  this  long  and  lofty  nave,  and 
up  into  the  choir,  touching,  on  its  course,  the  gold  and 
purple  of  the  priestly  vestments,  and  kindling  with 
brightness  'the  beautiful  windows  of  the  choir.  The 
worshiper  seemed,  indeed,  to  be  for  a moment  in  a 
paradise  of  beauties,  brief  vision  of  the  future  glories 
awaiting  the  faithful.  It  is  while  under  the  influences 
of  such  impressive  emotions  that  we  may  obtain  an  ade- 
quate understanding  of  the  wonderful  powers  inherent 
in  the  religious  faith  which  our  Lord,  the  Christ,  re- 
vealed. The  churches  of  the  Christian  religion  are  not 
hedged  round  with  mysterious  and  superstitious  sanctity, 
but  are  gathering  places,  where  all  who  come  may  be 
enriched  with  thoughts  awakening  profoundest  medita- 
tions, and  may  have  enkindled  feelings  and  great  hopes, 
which  answer  the  deepest  demands  of  our  hearts  and 
the  loftiest  anticipations  of  our  ardent  spirits, 

§ Developed  Early  Gothic  Facade.  Early  Gothic 
attained  its  highest  development  in  the  type  of  western 


200  Ecclesiastical  Architecture. 


NOTRE  dame.  PARIS. 


Gothic  Style. 


201 


facade  as  presented  in  Notre  Dame  of  Paris  (Fig.  141). 
There  are  three  perpendicular  divisions,  effected  by  but- 
tresses ; the  central  one  corresponds  to  the  nave,  the 
side  divisions  to  the  aisles.  There  are  three  horizontal 
divisions,  made  by  beautiful  arcades.  The  upper  arcade 
is  open,  and  marks  the  place  where  each  tower  is  set 
free  and  begins  its  bold  ascent  upward.  The  lower  ar- 
cade indicates  the  transition  from  the  aisle  to  the  gallery, 
and  it  is  a canopied  arcade,  having  niches  where  the 
effigies  of  civil  rulers  are  placed.  They  seem  guards 
over  the  entrances  of  the  people,  while  in  the  portals, 
each  in  his  own  canopied  shelter,  and  in  perilous  atti- 
tude— defying,  indeed,  all  laws  of  gravitation — the  saints 
of  the  ages  stand,  witnesses  of  the  faith  to  believers  who 
enter  the  house  of  God.  Then,  in  the  arch-head,  skillful 
hands  have  sculptured  the  form  of  the  Master,  establish- 
ing on  the  cross,  or  else  in  the  resurrection,  unspeakable 
hope  for  mankind.  This  is  the  Gothic  western  fayade, 
great  in  its  embodied  thought,  magnificent  in  its  stately 
grandeur. 

§ The  Early  Gothic  Buttress.  The  resistance  to 
the  thrusts  of  the  arches  within  a Gothic  edifice  was 
met,  not  by  thick  wall,  as  'in  the  Romanesque  build- 
ing, but  by  buttresses  external  to  the  wall-piers.  These 
buttresses  were  at  first  plain  and  massive.  They  there- 
fore become  most  helpful  in  assigning  a Gothic  church 
to  the  period  in  which  it  appeared.  The  first  horizontal 
division  is  at  the  height  of  the  window-sill;  the  second 
at  the  height  of  the  aisle  shed-roof;  the  third  is  at  the 
height  of  the  triforium,  and  extends  to  it  in  the  form 
of  a flying  buttress.  There  is  sometimes  built  upon 
this  upper  portion  a second  flying  buttress  to  the  clere- 
story. As  yet,  the  chief  thought  of  the  architect  was  to 
make  stable,  not  to  beautify ; or,  if  a buttress  is  made 


202 


Ecclesiastical  Architecture. 


ornamental,  it  seems  rude  compared  with  the  buttresses 
of  the  perfected  style.  Generally,  it  may  be  said  that  the 

Fig.  142.  exterior  of  the 

Gothic  church 
(Fig.  142)  has  al- 
ways a most  dis- 
tinctive charac- 
ter because  of  the 
buttresses  and 
flying  buttresses, 
which  constitut- 
ed the  strength 
of  the  walls,  and 
that  early  Gothic 
constructed  these 
supports  with  ap- 
parent forgetful- 
ness, or  rather, 
with  complete  ig- 
norance of  the  op- 
portunity which 
they  proffered  for 
making  the  rar- 
est and  most  per- 
fect ornament 
ever  placed  upon 
the  exterior  of 
any  edifice.  The 
early  Gothic  buttresses  were  narrow  in  front  and  had 
disproportionate  depth  on  the  sides.  They  made  this 
impression  when  viewed  from  base  to  summit.  They 
were  devoid  of  ornament.  The  lower  buttresses  had  no 
paneling,  and  were  without  pinnacles,  while  the  flying 
buttresses,  which  sprang  over  the  roof  of  the  aisles, 
were  heavy  and  quite  unattractive. 


CHOIR  OF  NOTRE)  DAME),  AT  CHATONS. 


Gothic  Style . 


203 


§ Contrasted  Nave=bays.  The  early  Gothic  bay  (Fig. 
143)  shows  resemblances,  together  with  most  marked  dif- 
ferences, when  compared  with  the  bay  of  the  Romanesque 
style  (Fig.  144).  The  strong  cylin- 
drical column  for  the  lower  support 
is  common  to  both ; so,  also,  is  the 
threefold  division  of  the  bay  and 
the  cross-vaulted  ceiling.  Yet  the 
impression  of  the  two  bays  is  essen- 
tially different.  The  pointed  arch 
of  the  Gothic  enables  the  architect 
to  attain  most  gracefully  an  impos- 
ing altitude  in  the  bay,  while  the 
splendid  light-apertures  make  it 
beautiful  and  bright. 

Fig.  144. 


BAY  OF  N.  D.,  PARIS.  BAY  OF  GLOUCESTER  CATHEDRAL- 


Fig.  143. 


204  Ecclesiastical  Architecture . 

§ Early  Gothic  Columns.  It  was  not  long  before 
the  early  Gothic  style  introduced  the  clustered  column. 
The  nucleus  was  a cylindrical  column  (Fig.  145),  with  its 

own  capital  at  the 
summit.  Around 
this  central  col- 
umn were  set  four 
half-columns, 
each  with  its  own 
capital.  The  ribs 
of  the  vaulting 
are  sustained  by 
shafts  upon  the 
nave-walls,  which 
rest  upon  the 
abacus  of  the  cap- 
ital. Eater,  these 
vaulting  lines  de- 
scended the  side 
of  the  pier  and 
became  attached 
to  the  base.  This 
change  height- 
ened the  impres- 
sion of  organic 
construction  from 
floor  to  roof.  It 
may  be  said  that 
early  Gothic  gives  greatest  preference  to  the  half-round 
column  on  piers,  to  half-round  shafts  on  walls,  to  the 
half-round  mouldings,  especially  in  vaulting  ribs.  Win- 
dows in  this  style  were  generally  lancet-shaped,  bipar- 
tite, with  a circle  in  the  head.  The  capitals  of  columns 
were  ornamented  sparely  with  leaves,  imitating  closely 
the  forms  of  nature.  The  architects  of  the  early  Gothic 


Gothic  Style. 


205 


received  suggestions  as  to  the  partition  of  surfaces  and 
the  pier-supports  from  the  Romanesque  buildings;  but 
the  new  indwelling  spirit  in  every  part  seems  to  obliter- 
ate any  Romanesque  likenesses,  transforming  into  one 
harmonious  whole  the  old  and  the  new. 

§ Portal  with  the  Pointed  Arch.  At  first,  the  Gothic 
portal  was  deficient  in  the  organic  connection  of  its 
parts.  This  is 
at  once  appar- 
ent from  the 
portal  of  St. 

Martin’s,  at  Col- 
mar. Indeed, 
the  pointed  arch 
(Fig.  146)  might 
have  been  re- 
placed by  the 
round  arch ; for 
all  the  pointed 
archivolts  rest 
upon  a kind 
of  architrave 
above  the  cap- 
itals. Engaged 
columns  were 
also  placed  in 
the  door-jambs, 
in  the  same 
fashion  as  is 
seen  in  the  Romanesque  portal  ( vide  Fig.  98).  Sculp- 
tured figures,  illustrating  Scriptural  events — especially 
the  dramatic  scenes  in  the  life  of  Christ — fill  the  space 
above  the  transom.  There  is  scarcely  any  indication 
of  the  magnificence  with  which  Gothic  architects  sur- 


Fig.  146. 


PORTAL,  CHURCH  OF  ST.  MARTIN. 


2o6  Ecclesiastical  Architecture . 

rounded  the  later  Gothic  portals  in  those  of  the  earliest 
style.  The  great  constructive  features  of  the  edifice 
were  the  controlling  thoughts  with  the  builders  of  the 
early  Gothic.  So  they  did  little  more  than  to  place  the 
pointed  arch  above  the  Romanesque  portal,  removing 
the  round  arch.  It  was  only  slowly,  step  by  step,  that 
the  great  principles  of  Gothic  architecture  entered  into 
every  part  of  the  Gothic  edifice. 

C.  PERFECTED  GOTHIC  STYLE,  1300=1420. 

§ The  Designation.  Perfected  Gothic  Style  is  a 
designation  which  indicates  the  period  in  which  Gothic 
architecture  reached  its  most  complete  and  perfect  de- 
velopment. The  Germans  prefer  to  call  this  period  the 
Radiating  Pointed  Style.  This  designation  indicates  a 
constructive  feature  present  in  the  pier  development  and 
in  the  traceries  of  the  cathedral.  The  pier  seems  to 
spring  from  the  earth  and  to  send  forth  lateral  branches, 
forming  the  lofty  and  noble  pointed  arches  of  the  nave. 
Continuing  upward,  the  pier  rises  until  it  again  branches 
into  those  offshoots  which  make  the  graceful  vaulting 
ribs.  The  columns  of  the  triforium  arcade  exhibit 
the  same  radiating  principle,  and  the  window-tracery, 
through  branching  wall-posts  and  mullions,  seems  but 
part  of  a luxuriant  growth,  which  moves  along  lines  of 
beauty,  and  never  is  suffered  to  become  wild  and  irreg- 
ular. The  favorite  designation  of  this  style  among  the 
English  and  French  is  the  Decorated  Gothic,  by  which 
expression  attention  is  called  to  that  marvelous  and 
various  ornamentation  which,  especially,  is  seen  upon 
the  exteriors  of  those  cathedrals  which  are  at  once  the 
glory  and  the  perfection  of  Gothic  architecture. 

§ Classical  and  Pointed  Architecture.  It  is  only 
in  the  perfected  Gothic  that  the  correct  understanding  of 


Gothic  Style. 


207 


these  contrasted  styles  may  be  obtained.  Classical  archi- 
tecture is  horizontal.  It  has  the  lintel  above  the  open- 
ings of  door  and  window,  not  the  arch.  It  has  the 
architrave  upon  columns,  not  the  arch.  Cornices  mark 
the  terminations  of  the  stories  and  the  edifice  itself.  All 
these  features  are  horizontal.  The  Romans  introduced 
the  round  arch  into  the  apertures  of  buildings,  and  Con- 
stantine, in  his  churches,  extended  the  use  of  the  round 
arch  by  substituting  it  in  place  of  the  architrave.  Still, 
with  these  changes,  edifices  had  prominent  horizontal 
features.  The  introduction  of  the  wall-pilasters  and 
pier-buttress  gave  vertical  features  to  some  Romanesque 
churches,  and  the  wall-pilaster  in  Latin  basilicas  and  in 
classical  temples  answered,  in  part,  the  same  purpose  ; 
but  it  was  the  triumph  of  Gothic  architecture  to  banish 
almost  entirely  from  a building  the  horizontal  features 
which  had  reigned,  almost  undisturbed,  in  facades  for 
twenty  centuries. 

The  vertical  line  is  the  dominant  line  in  a Gothic 
cathedral ; the  pointed  arch,  the  substitute  for  all  lintels 
and  architraves ; the  gable  is  the  external  covering  for 
all  roofed  spaces,  including  those  sheltered  nooks  where 
the  statues  of  saints  were  set.  The  tower  is  completed 
only  when  it  is  surmounted  by  a spire,  and  the  proper 
termination  for  a buttress  is  a finial.  Gothic  architecture 
interrupts  everywhere  the  horizontal  line  by  the  pointed 
arch,  the  gable,  the  buttress,  and  the  finial.  Classical 
architecture  charms  because  its  beauties  are  near  by,  for 
its  elevation  is  low.  It  also  astonishes,  because  of  the 
great  masses  of  stone  in  the  foundations,  in  the  columns, 
and  in  the  architrave.  Gothic  architecture  creates  as- 
tonishment because  its  roofs  and  towers  and  spires  reach 
dizzy  heights.  Yet  Gothic  architecture  charms  by  the 
beauties  in  its  windows  and  portals;  yea,  even  on  the 
faces  of  its  walls  and  towers  and  spires. 


2o8  Ecclesiastical  Architecture. 

Fig.  147. 


CATHEDRAL  OF  RHEIMS. 


Gothic  Style. 


209 


§ Perfected  Gothic  Facade  with  Towers.  A com- 
parison of  the  western  facade  of  the  Cathedral  of  Rheims 
(Fig.  147)  with  that  of  Notre  Dame  of  Paris  (Fig.  141) 
will  make  evident  the  purpose  of  the  architect  to  elim- 
inate the  horizontal  features  from  the  perfected  Gothic 
facade.  The  magnificent  pointed  archways  before  the 
portals  in  the  decorated  Gothic  are  completed  with  the 
crocketed  pointed  gables ; each  window,  except  the  rose- 
window,  every  niche,  receives  its  completion  through 
this  same  crocketed  gable.  Finials  mark  the  meeting  of 
each  gabled  canopy  with  its  neighbor.  Imposing  orna- 
mented tabernacles  make  the  upper  corners  of  the  tow- 
ers, and  the  faces  of  the  towers  are  bipartite-pointed  win- 
dows, each  with  its  crocketed  gable  termination.  These 
pointed  terminations  above  portals,  windows,  and  niches, 
on  buttresses  and  on  towers,  indicate  the  new  aims 
which  were  sought  and  attained  in  the  perfected  Gothic. 
The  architectural  grace  and  richness  of  this  front  illus- 
trate the  triumph  of  pointed  architecture  over  the  hori- 
zontal, of  Christian  Gothic  architecture  over  the  pagan 
classical  type ; for  the  horizontal  features  disappear,  and 
all  the  prominent  lines  move  toward  the  vertical,  allur- 
ing the  eye  upward,  from  beauty  to  beauty,  as  they  are 
revealed  in  portals  and  windows,  and  in  those  graceful 
tabernacles,  within  which  some  beneficent  saint  is  safely 
sheltered. 

§ Perfected  Gothic  Facade  with  Spires.  The  im- 
pression from  the  western  facade  of  the  perfected  Gothic, 
having  the  spire,  is  that  of  a struggle  upward,  each  step 
marked  by  grace  and  beauty ; and  the  admiring  eye 
mounts  these  steps  with  wonder  and  admiration,  only 
to  leap,  at  last,  from  the  apex  of  the  cruciform  flower, 
at  the  summit  of  the  spire,  into  the  vast  expanse  of  the 
sky.  Most  beautiful  among  Gothic  cathedrals  is  that 

14 


210 


Ecclesiastical  Architecture. 


CATHEDRA!,  OF  STRASBURG. 


Gothic  Style. 


211 


of  Strasburg,  which  was  in  process  of  building  more 
than  three  centuries.  The  western  facade  of  this  cathe- 
dral (Fig.  148)  presents  the  consummation  of  Gothic 
aims.  Splendid  pointed  portals  in  the  first  story ; mag- 
nificent windows  and  arcades  in  the  second ; both  por- 
tals and  windows  are  richly  adorned  with  the  crocketed 
gables  above  them.  Then  the  eye  follows  the  pointed 
windows  of  the  towers,  marking  the  belfries,  each  win- 
dow beneath  a crocketed  gable,  and  at  the  corners  of 
the  towers  are  beautiful  polygonal  turrets.  Enthusiasm 
kindles  increasingly  in  the  observer  as  his  eye  climbs 
still  upward  along  the  sculptured  triangular  faces  of  the 
spires,  which  terminate,  high  in  the  air,  with  the  grace- 
ful cruciform  flower. 

§ The  Choir’s  Facade.  Perfected  Gothic  wrought 
the  buttress  and  the  flying  buttress  into  exquisite  forms 
of  beauty.  The  wondrous  splendor,  given  to  these  sup- 
ports of  the  nave,  effect  such  charm  that  the  exterior  of 
the  choir  and  nave  seem  to  lose  none  of  their  attractive- 
ness when  compared  with  the  magnificent  beauty  of  the 
western  facade.  The  order  of  progress  in  the  enrichment 
of  a buttress  enables  any  one  easily  to  detect  the  con- 
scious and  worthy  pride  of  Gothic  architects  in  this  essen- 
tial element  in  their  edifices.  We  may  follow  this  prog- 
ress in  the  exterior  view  of  the  choir  in  the  church  at 
Kuttenberg  (Fig.  149).  The  lowest  stage  of  the  buttress 
is  quite  plain  as  far  as  to  the  height  of  the  aisle.  Be- 
neath the  water-table  at  this  point  the  water-spout  for 
the  aisle-roof  is  placed,  being  curious  gargoyles  fash- 
ioned into  distorted  animal  forms.  The  second  stage 
upward  is  as  far  as  the  first  flying  buttress.  This  part 
is  paneled  with  forms  resembling  window-tracery.  The 
third  stage  begins  where  the  second  flying  buttress  is 
made  to  spring  in  order  to  reach  the  high  clerestory. 


212 


Ecclesiastical  Architecture. 


Here  tabernacle  work  is  found,  and,  within  it,  statuary. 
The  beautiful  finial  surmounts  the  buttress.  Along  the 

roof  of  the  nave 
and  choir,  mark- 
ing the  lines  of 
impact  of  the  fly- 
ing buttress  upon 
their  sides,  pin- 
nacles are  raised, 
harmonious  with 
those  upon  the 
summits  of  the 
buttresses.  The 
care  spent  on 
these  mere  wall- 
supports  of  the 
greater  cathe- 
drals, in  order  to 
beautify  them, 
leads  us  to  won- 
der at  the  genius 
of  these  archi- 
tects, who  trans- 
formed the  exter- 
nal bracings  of  walls  into  one  of  the  most  imposing 
and  lovely  features  in  their  wonderful  edifices. 

§The  Nave=bay.  The  pier-arch,  the  triforium,  and 
the  clerestory  (Fig.  150)  compose  the  Gothic  nave-bay. 
Consider  first  the  pier-arch.  Piers  seem  to  spring  from 
the  ground,  and  to  branch,  forming  arches  and  the 
groined  ribs  for  the  vault.  The  property  of  branching 
is  the  essential  principle  of  the  decorative  Gothic  pier. 
It  is  named,  as  in  the  Romanesque  style,  the  clustered 
pier.  A fine  view  of  the  aisle-side  of  this  Gothic  pier  is 


Gothic  Style. 


213 


seen  in  the  engraving.  Each  archivolt,  each  groined 
rib,  has  its  own  corresponding  column  in  the  cluster. 
Also,  a glance  at 
the  nave-side  of 
this  pier  exhibits  a 
cluster  of  columns, 
mounting  as  high 
as  the  clerestory, 
to  give  support  to 
the  vaulting  of  the 
nave.  Through  the 
ample  archway  of 
the  nave  is  seen 
the  inner  View  of 
the  aisle-wall,  built 
between  mighty 
buttresses,  opposite 
the  nave-piers.  No 
part  here  is  neg- 
lected. The  dado 
is  beautifully  pan- 
eled with  half-col- 
umns, supporting 
the  pointed  arch ; 

„ . , . / NAVE),  STRASBURG  CATHEDRAL,. 

tall  windows,  with 

beautiful  pointed  tracery,  throw  their  light  across  the 
aisle  and  nave,  and  richly-moulded  groined  ribs  adorn 
the  vaulting  of  the  aisles.  The  triforium  is  often  open, 
thus  securing  more  ample  window-apertures,  in  order  to 
fill  the  interior  with  a greater  volume  of  light.  It  is, 
however,  the  clerestory  which  is  most  open  to  the  sun- 
shine, for  it  is  merely  a series  of  vast  windows.  The 
tracery  work  of  the  windows,  both  in  the  aisles  and  the 
clerestory,  becomes  one  of  the  most  efficient  aids  for  the 
classification  of  the  Gothic  cathedrals.  The  perfected 


214 


Ecclesiastical  Architecture. 


Gothic  window  has  pointed  arches  upon  mullions,  divid- 
ing the  space  below  and  forming  the  window’s  transom. 
Foliated  forms  fill  in  the  window  above  the  transom. 
Remembering  that  the  windows  were  filled  with  stained 
glass  of  the  richest  and  deepest  colors,  and  often  pre- 
sented through  their  colored  splendor  the  precious 
events  of  Holy  Writ,  these  windows,  lighted  by  the  sun- 
beams and  framed  by  beautiful  arches,  seemed  but  beau- 
tiful screens,  which  separated  the  beholder  from  un- 
speakable glories  beyond. 

§ The  Perfected  Gothic  Nave.  Our  example  (Fig. 
1 51)  is  taken  from  the  Cathedral  of  Winchester,  and 
shows  the  great  window  in  the  western  fagade.  We  are 
impressed  with  the  severe  simplicity  of  this  avenue  of 
stately  piers,  reaching  to  the  vaulting  ribs  of  the  nave. 
Then  we  admire  the  simple  elegance  in  the  form  of  the 
lofty  pier-arches,  within  which  the  glory  of  the  aisle- 
windows  appear.  The  triforium  seems  diminutive  be- 
tween the  pier-arch  below  and  the  tall  clerestory  window 
above,  which  is  ablaze  with  colors.  Then  the  nave- 
vaults  charm  us  by  their  branching  ribs,  woven  into 
star-shaped  patterns  at  their  junction.  The  great  west- 
ern window  seems  the  appropriate  beginning  of  this 
nave,  opposite  to  which  was  the  gorgeous  beauty  of  the 
sanctuary ; for  they  who  designed  this  great  window  for 
the  western  fagade,  sought  only  to  catch  the  last  rays  of 
the  sun  at  its  setting,  and  flash  their  colored  beaut}^, 
at  the  vesper-service,  along  the  nave  unto  the  altar  of 
this  building,  which  is  “ fitly  joined  together,  and  grow- 
eth  into  a holy  temple  unto  the  Lord.”  What  shall  we 
say,  then,  when  we  see  that  these  beautiful,  vast  naves  are 
seldom  peopled  full  with  worshipers  in  these  our  times  ? 
Simply,  that  at  one  time  a city’s  believers  crowded  these 
naves  and  bowed  in  reverent  fear  before  the  gorgeous 


Gothic  Style. 


215 


services  of  the  sanctuary,  and  that  these  people  in  wor- 
ship were  then  as  impressive  as  their  noble  and  charming 

Fig.  151. 


NAVE  OF  WINCHESTER  CATHEDRAE. 


cathedrals  ; simply,  that  now  the  pagan  splendors  of 
ritualistic  worship  do  not  captivate  a modern  city. 


2X6 


Ecclesiastical  Architecture . 


Fig.  152. 


§ Decorated  Gothic  Portal.  One  archway  in  the 
triple-arched  portal  of  the  church  at  Thann  will  suffice 
to  make  clear  the  wealth  of  beauty  and  the  charming 
constructive  unity  in  the  perfected  Gothic  portal.  Any 
arch  substituted  for  the  pointed  arch  here  would  destroy 

the  unity  of  the 
structure.  The 
arch’s  support  is 
not  columns,  but 
such  groups  as 
are  found  in  the 
clustered  piers  of 
the  nave.  The 
spring  of  the  arch 
is  marked  by  no 
sign  of  capital. 
Three  receding 
arches  make  the 
doorway,  between 
the  archivolts  of 
which  statuary  is 
set.  Imposing 
statues  stand  upon 
brackets  in  the 
door-jambs.  The 
pointed  arch  in 
the  panel-work 
and  the  abundant 
use  of  foliated  fig- 
ures are  evidences 
of  the  decorated  style.  Ornamentation  is  profuse.  In- 
deed, signs  of  the  decadent  styles  are  traceable  in  the 
too  ornate  character  of  the  arches,  having  a border  of 
foliage  on  its  outer  face  and  cusps  upon  its  outer  curve. 
Comparison  with  Fig.  146  will  reveal  the  advance  in 


PORTAn  OF  CHURCH  AT  THANN 


Gothic  Style. 


217 


constructive  unity,  as  well  as  a new  mode  of  ornamen- 
tation which  is  to  be  found  in  the  perfected  Gothic. 

D.  LATE  GOTHIC  STYLE,  1420-1500. 

§ A Decadent  Style.  The  late  Gothic  style  is  also 
rightly  named  the  degenerate  Gothic  Style.  Men  could 
not  be  content  to  imitate  the  noble  examples  of  per- 
fected Gothic,  confining  themselves  to  a striving  after 
greater  excellence  within  the  limits  of  the  perfected 
Gothic  art.  They  sought  change.  The  result  was 
novelties  in  arch-forms,  whether  at  the  portals  or  in  the 
windows ; novelties  in  the  vaulting-groins ; novelties 
either  through  excessive  decoration  or  through  poverty 
of  ornamentation.  In  consequence,  fagades  became  fan- 
tastic, a mere  grouping  of  discordant  forms;  and  inte- 
riors revealed  everywhere  lawlessless  to  Gothic  tradi- 
tions. There  were  two  distinct  styles  wrought  out  under 
this  exertion  for  something  new,  without  a correspond- 
ing advance  in  that  nobleness  of  feeling  in  the  architect 
which  ever  accompanies  the  origination  of  new  and  typ- 
ical architectural  forms.  The  English  developed  one  of 
these  styles,  and  it  has  received  the  name  of  the  Perpen- 
dicular Style.  The  other  style  had  its  origin  among  the 
French,  and  is  called  the  Flamboyant  Style.  Both 
names  have  reference  to  alterations  chiefly  in  the  tracery. 

(1)  perpendicular  style. 

§ Novel  Pointed  Arches.  The  early  'and  the  per- 
fected Gothic  styles  used  only  the  pointed  arch,  which 
is  constructed  from  two  centers.  This  arch  is  either 
acutely  pointed,  obtusely  pointed,  or  equi-angled.  The 
novelty  introduced  into  the  late  Gothic,  especially  in 
the  perpendicular  Gothic,  is  a compound  pointed  arch. 
There  are  several  varieties  of  this  compound  arch,  yet 
they  have  the  common  feature  of  being  constructed 


218 


Ecclesiastical  Architecture. 


from  at  least  four  centers.  These  (Fig.  153)  are  the 
triple  and  quintuple  arches,  the  Tudor  arch,  and  the 
ass-back  arch,  seemingly  a satirical  name,  indicating  an 
unsafe  support. 

Fig.  153 


§ Perpendicular  Tracery.  The  vertical  line  is  the 
dominant  line  in  all  Gothic  architecture.  And  in  the 
two  earlier  periods  there  was  present  this  distinctive 
feature,  that  if  the  eye  followed  a vertical  line,  the  line 
led  the  eye  to  a pointed  arch,  or  a pointed  canopy,  or 
the  apex  of  a finial.  But  this  feature  vanished  in  the 
perpendicular  style,  for  a vertical  line  was  constantly  in- 
terrupted by  a horizontal  one,  as  at  doorways  by  labels, 
or  in  windows  by  transoms.  Hence  the  perpendicular 
style  has  not  the  pointed  idea  in  the  tracery,  found  in 
the  early  style  of  English  Gothic.  The  east  window  of 
Gloucester  Cathedral  (Fig.  154),  having  the  remarkable 
dimensions  of  38  by  72  feet,  is  one  of  the  finest  ex- 
amples of  perpendicular  window-tracery.  The  greatest 
illumination  of  the  choir  is  secured  through  this  win- 
dow, for  the  eastern  termination  of  the  choir  is  simply 
this  wall  of  colored  glass.  Yet  the  window  is  more  than 
the  source  of  light — it  is  the  place  of  apocalypse ; for 


Gothic  Style. 


219 


the  saints  and  apostles  of  the  Church,  arrayed  in  beauti- 
ful robes,  bearing 
here  as  if  at  the 
gate  of  heaven, 
witnessing  the  of- 
fering of  believers 
before  the  high 
altar  of  their  Lord. 

It  is  not,  there- 
fore, before  such 
a magnificent  win- 
dow of  the  per- 
pendicular style 
that  we  feel  its 
limitations.  The 
transoms  of  this 
style  seem  here 
appropriate  sup- 
port for  the  feet 
of  the  heavenly 
visitants.  Yet  per- 
pendicular tracery 
in  the  windows  of 
the  aisle  and  the 
clerestory  ever  failed  to  awaken  that  feeling  of  aspira- 
tion which  came  to  one  while  beholding  the  lofty  win- 
dow-divisions, unbroken  by  transoms,  which  adorned 
the  earlier  Gothic  cathedrals. 

§ Ramiform  Vault.  The  English  architects  in  the 
perpendicular  style  developed  a most  remarkable  modi- 
fication of  the  ribbed  vault.  The  peculiarity  in  this 
new  construction  of  the  vault  consisted  in  making  the 
vaulting  ribs  many  in  number,  springing  from  one 
point,  like  so  many  branches,  as  seen  in  Fig.  154.  The 


the  symbols  of  their  service,  stand 

Fig.  154. 


CHOIR,  GLOUCESTER  CATHEDRAL. 


220 


Ecclesiastical  Architecture. 


interlacing  of  these  branching  ribs  by  means  of  shorter 
ribs  produced  what  has  been  named  the  net-work  vault- 
ing, which  gives  to  the  vaulted  ceiling  the  appearance 
of  open  lace-work,  woven  in  stone.  Where  the  stone 
threads  were  crossed  or  knotted,  the  architect  placed 
beautiful  rosettes  or  other  artistic  designs. 


§ Fan=shaped  Vaulting.  The  most  beautiful  and 
graceful  adaptation  of  the  ramiform  vaulting  is  found  in 

FIG.  155.  the  fan-shaPed 

vault.  In  fact, 

this  vault  is  but 
the  ramiform 
vault  with  hori- 
zontal circular 
ribs,  binding  to- 
gether the  ver- 
tical branches,  as 
seen  in  Fig.  155. 
The  name  given 
to  this  mode  of 
vaulting  arose 
from  the  resem- 
blance of  the 
vault  to  a fan 
wThen  spread  out 
and  its  ribs  bent 
backwards,  form- 
ing a kind  of  in- 
verted cone,  with 
the  line  from 
apex  to  base  a 
concave  line.  The 
skill  of  the  architect  is  readily  recognized  when  we  dis- 
cern how  he  gathers  together  the  central  ribs  of  the  fan- 


KINGS’S  COLLEGE  CHAPEL. 


Gothic  Style. 


221 


vault  and  unites  their  extremities  to  those  in  the  op- 
posite fan-vault,  producing  on  the  ceiling  the  form  of 
the  Tudor  arch.  This  chapel  at  King’s  College,  Cam- 
bridge, is  a gorgeous  hall,  and  the  rigid  lines  of  the  per- 
pendicular window-tracery  blend,  not  inharmoniously, 
with  the  vertical  and  horizontal  curvatures  in  the  ceiling. 

§The  Pendant  Vault.  The  hall  of  the  Divinity 
School,  Oxford  (Fig.  156),  illustrates  the  chief  charac- 


FlG.  156. 


DIVINITY  SCHOOL,  OXFORD. 


teristics  of  the  perpendicular  style.  The  clustered  piers 
seem  to  be  like  a cluster  of  iron  rods,  a part  of  which 
are  taken  and  bent  across  the  hall  for  transverse  arches ; 
a part  is  taken  and  bent  for  the  arches  above  the  win- 
dows. The  form  of  all  these  arches  is  the  Tudor  form. 
There  is  no  graceful  bending  in  these  curvatures  sug- 
gestive of  a growing  stem,  such  as  is  found  in  the 


222 


Ecclesiastical  Architecture. 


Gothic  pointed  arch  ; for  one  feels,  when  looking  at  the 
Gothic  pointed  arch,  that  it  would  spring  upright  if  only 
the  force  uniting  the  arch  at  the  apex  would  release  its 
grasp.  But  the  keystone  of  a Tudor  arch  might  be  re- 
moved, and  still  the  sides  of  the  arch  would  remain 
stationary,  just  in  the  same  shape  as  it  was  bent.  The 
perpendicular  tracery  of  the  windows,  the  ogee  arch 
above  the  door  on  the  right-hand  side,  are  evidences  of 
this  style.  The  pendant  vault  makes  the  ceiling.  An 
appreciative  student  of  Gothic  architecture  describes  the 
Tudor  stem  and  arch  in  the  following  words  : “ Up  rose 
the  Tudor  stems ; but  their  branches,  instead  of  rising 
higher  and  higher  still,  and  entwining  in  the  skies,  soon 
curved  downward,  and  united  themselves  in  the  inverted 
apex  of  the  pendant.”  It  is  truly  beautiful  architecture, 
bent  down  from  the  skies  to  be  admired  of  men. 

§Tudor  Church  with  Clerestory.  The  Tudor  Gothic 
church  has  been,  since  the  15th  century,  the  typical 
church  building  in  England.  It  is  not  a cathedral,  but 
a parish  church,  and  with  the  clerestory  the  edifice  has 
impressive  proportions.  The  Fotheringay  Church, 
Northamptonshire  (Fig.  157),  built  in  1434,  exhibits  the 
peculiar  attractiveness  of  this  style.  The  church  is 
Gothic,  being  an  inclosure  built  between  buttressed 
piers,  and  haying  also  the  flying  buttress.  There  is  no 
transept,  but  a noble  central  tower  stands  at  the  western 
entrance.  The  choir  is  terminated  by  a window,  mag- 
nificent in  its  proportions.  The  aisle-window  has  a 
Gothic  pointed  arch;  the  window  of  the  clerestory  is 
the  Tudor  arch ; bar-tracery  is  found  in  both.  This 
church  stands  as  a witness  that  attainment  of  astonish- 
ing altitude  had  been  given  up,  for  the  arches  of  the 
clerestory  are  of  the  low  type.  The  towers  and  the 
roof-lines  are  completed  with  battlements,  such  as  were 


Gothic  Style. 


223 

common  in  castles.  There  is  a simplicity  in  this  struc- 
ture and  a solidity  which  comport  well  with  the  English 
character. 

Fig.  157. 


FOTHERINGAY  CHURCH. 


§ Tudor  Church  without  Clerestory.  The  fagade 
of  St.  Neot’s  Church  (Fig.  158)  will  make  evident  the 
change  in  the  church  edifice  by  the  omission  of  the 
clerestory.  The  vertical  and  horizontal  divisions  indi- 
cate the  perpendicular  style.  Some  windows  are  with 
and  some  are  without  transoms.  All  windows  have  the 
pointed  arch.  Most  noticeable  is  the  tower,  which  as- 
sumes grander  proportions  because  of  the  low  nave,  and 


224 


Ecclesiastical  Architecture . 


Fig.  158. 


gives,  therefore,  a noble  impressiveness  to  the  whole 
structure,  which  is  simple  in  form  and  strongly  builded 

together.  This  style 
is  in  accord  with 
the  Engish  people, 
among  whom  it  had 
its  origin,  and  with 
whom  are  present 
many  examples  of 
the  style  adorning 
its  older  towns. 
Simple,  strong,  no- 
ble, and  devout  are 
the  people  of  this 
race.  The  parish 
church  in  the  Tudor 
style  may  have  but 
few  architectural 
beauties  beyond  the 
windows  through 
which  the  light  en- 
ters to  brighten  the 
church  and  the 
tower  whence  goes 
forth  the  bell’s  call 
unto  the  people  to 
come  for  worship. 
Nevertheless,  this 
parish  church  is  a thousand  times  more  churchly  than 
the  hall-churches  of  the  Continent  in  the  Flamboyant 
style,  where  gewgaws  of  ornament,  within  and  without, 
make  a church  seem  a kind  of  decorated  jewel-casket, 
whither  people  go  to  deposit  gems  of  Paternosters  and 
Ave  Marias,  and  then  depart  to  visit  places  thronged 
with  the  gayeties  of  a fashionable  world. 


ST.  NICOT’S  CHURCH. 


Gothic  Style . 


225 


(2)  FLAMBOYANT  STYLE. 

§The  Designation,  Flamboyant.  At  heart,  the 
movement  which  culminated  in  the  Flamboyant  style 
upon  the  Continent  was  an  antagonism  to  the  pointed 
Gothic  style.  The  change  in  the  tracery  of  the  win- 
dows gave  the  name  to  this  style.  Instead  of  the  pointed 
arch  and  the  foliated  forms  of  the  earlier  Gothic  styles, 
the  window-tracery  was  made  as  lawless  as  the  curv- 
ings  of  flames.  This  resemblance  suggested  the  name 
Flamboyant.  The  fish-bladder  pattern  is  a common  va- 
riety of  this  new  tracery.  Branch-work  is  found  in 
some  cases,  and  although  it  is  an  evident  imitation  of 
the  interlacing  of  vine-stems,  yet  the  unnatural  stiffness 
often  of  this  branch-tracery  is  anything  but  pleasing. 
The  ruling  curve  in  the  Flamboyant  style  is  a compound 
one,  having  its  convex  and  concave  parts.  The  numer- 
ous combinations  of  this  compound  curve,  which  was  sub- 
stituted for  the  simple  curve  of  the  pointed  arch  and  the 
foliated  forms  which  were  found  in  beautiful  window- 
tracery  of  earlier  Gothic  styles,  produced  a great  divers- 
ity of  patterns.  Fancy  was  maiden  free  in  Flamboyant 
tracery ; for  she  cast  off  the  Gothic  forms,  which  had 
confined  her  ways  within  graceful  limitations,  and  then 
moved  unconstrained,  making  intricate  paths  in  the 
tracery  such  as  baffles  the  eye  to  follow. 

§ The  New  Alliance  of  Rulers.  That  triple  alliance 
of  the  three  powers — the  priests,  the  princes,  and  the 
people — received  new  adjustment,  during  the  period  of 
the  Flamboyant  style,  which  induced  some  changes  also 
in  the  prevailing  architecture.  Guilds  of  the  people,  en- 
couraged by  the  princes,  originated  and  constructed 
Gothic  architecture.  But  the  knowledge  of  the  new  im- 
portance, which  the  people  acquired  through  the  splen- 
dor of  their  Gothic  cathedrals,  led  priests  and  princes  to 

15 


226 


Ecclesiastical  Architecture. 


unite  in  order  to  excel  or  obliterate  these  objects  of  pop- 
ular pride  by  rivaling  their  edifices  with  others  of 
greater  splendor.  Wealth  was  concentrated  with  the 
potentates  of  the  Church  and  the  State,  and  it  may  be 
doubted  whether  a king  or  emperor  had  more  royal  and 
imperial  splendor  than  pope  or  bishop.  The  retinue  of 
bishops  suffer  nothing  when  brought  in  comparison  with 
the  followers  of  princes.  These  holders  of  wealth,  the 
spiritual  and  the  temporal  rulers,  lavishly  placed  gor- 
geous extravagance  of  ornamentation  upon  cathedrals : 
upon  their  western  facades,  distorting  or  removing  the 
features  of  pointed  architecture ; upon  the  choir,  reduc- 
ing to  a decorative  function  the  heretofore  essential 
pointed  arch ; upon  the  vaulting,  dropping,  as  if  in 
laughter,  the  keystone  downward  in  form  of  a pendant. 
Thus  these  rich  rulers  smote  the  pride  of  the  people. 

§ The  Distorted  Gothic  Facade.  The  western  facade 
of  the  church  at  Caudebec  (Fig.  159)  will  illustrate  the 
antagonism  to  pointed  architecture.  This  front  is  pro- 
fusely decorated,  but  without  regard  to  the  pointed  style. 
The  jambs  of  the  doorways  have  upon  them  statues  of 
saints,  but  there  are  no  niches  for  them : rather,  each  is 
furnished  below  with  an  ornamental  foot-stand,  a kind  of 
block  richly  carved  and  set  in  the  column ; and  above, 
is  a canopy  beautifully  sculptured.  The  pointed  arches 
of  the  doorways  have  a hood-moulding  above  them  ; but 
it  is  not  a pointed  angle,  whose  sides  are  decorated  with 
crockets.  Instead,  there  is  a kind  of  ogee  arch  with  pe- 
culiar curvings.  The  rose-window  above  the  portal  is 
reduced,  in  all  appearance,  to  a half  circle.  The  great 
central  buttresses  are  terminated,  not  by  pinnacles,  but 
by  pyramidal  roofs,  such  as  are  found  on  Romanesque 
towers.  A flying  buttress  is  seen,  but  it  is  made  not  to 
support  a thrust,  for  its  impact  is  against  a tower.  It  is 


Gothic  Style 


227 


rather  built  to  hold  the  mass  of  ornament,  which  is 
placed  above  the  buttress.  Everywhere  antagonism  to 
pointed  architecture  and  its  principles  is  present  in  this 

Fig.  159. 


CHURCH  AT  CAUDEBEC. 


fagade.  This  new  style  is  luxuriant,  abounding  in  gro- 
tesque combinations  ; yet  it  is  well  calculated  to  impress 
vulgar  minds  more  than  the  peerless  beauty  of  the  per- 
fected Gothic  style. 


228 


Ecclesiastical  Architecture. 


§ Flamboyant  Perpendicular  Facade.  The  western 
fagade  of  the  Cathedral  of  Orleans  (Fig.  160)  relegates  to 
Fig.  160.  the  realm  of  decora- 

tion the  great  features 
of  the  Gothic  front, 
or  else  banishes  them 
from  the  edifice.  No- 
tice the  lintels  of  the 
side  portals.  The 
pointed  arches  are  set 
upon  them  as  mere 
decorations.  The  sec- 
ond stage  of  this  fa- 
gade has  banished  all 
reminders  of  the 
pointed  style,  substi- 
tuting the  circular 
windows  in  their 
stead.  The  arcade- 
gallery  above  is 
simply  made  for  orna- 
mentation ; it  is  no 
part  of  a harmonious 
constructive  Gothic 
design  pervading  the 
whole  fagade.  The 
upper  stories  of  the 
towers  would  stand  strong  and  firm  if  the  pointed  win- 
dows and  the  arcade  in  them  were  removed ; hence, 
these  are  simply  ornamentation.  Yet  the  western  fagade 
of  the  Flamboyant  style,  wherein  the  horizontal  and 
perpendicular  features  usurp  those  of  the  pointed  Gothic, 
is  beautiful,  and  demonstrates  its  possibilities  to  win  ad- 
miration scarcely  inferior  to  the  beauty  that  charms  in 
the  English  perpendicular  style. 


Gothic  Style. 


229 


§ The  Pointed  Arch  as  Decoration.  The  screen  be- 
fore the  high  altar  in  the  Church  of  St.  Madeleine, 
Troyes  (Fig.  161), 
as  mere  decora- 
tion. Alternate 
panels  in  the  up- 
per border  of  this 
screen  are  orna- 
mented with  flam- 
boyant tracery. 

The  fringe,  so  to 
speak,  is  made  up 
of  three-pointed 
arches.  They  hang 
down ; they  have 
no  support  be- 
neath their  feet. 

The  spandrels  of 
the  arches  have  a 
canopy  in  them, 
and  the  pendant, 
at  the  junction  of 
the  arches,  is  fash- 
ioned into  a beau- 
tiful support  for 
some  statue.  Here  most  noticeably  is  emphasized  the 
purpose  of  making  the  pointed  arch  an  aid  in  decoration. 

§ Flamboyant  Pendant  Vault.  The  example  of 
Flamboyant  pendant  vaulting  is  taken  from  the  Cathe- 
dral of  Alby  (Fig.  162),  built  in  1512.  It  makes  most 
manifest,  when  carefully  considered,  the  movement 
afoot  antagonizing  pointed  architecture.  First,  ob- 
sere  the  vault’s  pendants.  One  is  large,  with  many 
mouldings ; a second  is  smaller ; the  third  is  of  the 


exhibits  the  use  of  the  pointed  arch 


Fig.  161. 


SCREEN  OF  ST.  MADEEEINE,  TROYES. 


230 


Ecclesiastical  Architecture. 


same  size  as  the  first ; the  fourth  is  like  the  second. 
Again,  observe  that  the  third  pendant — and  so,  of  course, 
the  first — have  transverse  arches  sent  from  their  sides. 
Indeed,  if  columns  be  set  beneath  the  pendants,  there 

will  be  formed  two 
vaulted  aisles,  hav- 
ing the  pointed 
arch  in  the  vaults. 
The  differences  in 
the  size  of  the 
pendants  and  the 
mouldings  upon 
them  correspond 
to  the  forms  which 
are  the  principal 
and  secondary 
piers  of  the  Gothic. 
Further,  between 
the  great  piers  in 
the  bay  of  the  nave 
a pendant  hangs 
down,  and  it  is 
made  to  support 
the  feet  of  pointed 
arches.  Fresh  evi- 
dence is  given  in 
this  church  that 
the  pointed  arch  is 
no  structural  part  of  the  edifice,  but  may  enter  in,  to 
give  ornamentation  to  the  several  parts  of  the  build- 
ing. The  two  windows  in  the  engraving  show  excel- 
lent examples  of  the  flowing  tracery,  which  is  charac- 
teristic of  the  Flamboyant  style.  Generally  speaking, 
all  this  gorgeous  luxuriance  in  the  tracery,  and  all  the 
prodigal  display  of  fancy  in  ornamentation,  are  irrever- 


Fig.  162. 


CATHEDRA!,  at  alby. 


Gothic  Style . 


231 


ent,  wearying  one  with  its  lawlessness.  It  is  Gothic,  but 
a Gothic  which  destroys  the  essential  and  noblest  prin- 
ciples of  Gothic  architecture,  and  seeks  to  atone  for  its 
crime  by  ostentatiously  displaying  Gothic  constructive 
forms  as  things  suitable  only  for  ornamentation. 

E.  STRIKING  FEATURES  OF  THE  GOTHIC  STYLE. 

§ A Retrospect.  Gothic  architecture  is  Christian 
architecture  set  free  from  classic  or  pagan  influences. 
The  emancipation  was  accomplished  only  after  centuries 
of  struggle.  In  its  general  form  the  Gothic  is  simple,  for 
it  is  either  rectangular  or  cruciform  in  its  ground-plan. 
Its  creed  gives  stability,  for  it  believes  in  mighty  piers, 
pointed  arches,  and  massive  buttresses.  It  transforms 
into  beauty  the  members  upon  which  it  depends  for 
strength,  so  that  the  greatest  charms  of  Gothic  architec- 
ture are  gathered  around  pier,  arch,  and  buttress.  The 
Gothic  edifice  is  impressive  because  it  has  a wonderful 
vista  in  the  nave  and  a mysterious  loveliness  in  the 
graceful  windows  of  its  walls,  all  aglow  with  iridescent 
hues.  The  lofty  height  of  the  edifice,  rendered  still 
more  wondrous  by  the  long  reach  of  the  spires  into  the 
sky,  gives  grandeur  of  elevation.  And  the  gorgeous- 
ness and  variety  of  the  ornamentation  remind  the  ob- 
server of  the  floral  world,  wherein  the  Creator  made 
marvelous  forms  and  robed  them  in  the  richest  garments 
of  color.  Yet  nature’s  forms,  not  her  colors,  are  fash- 
ioned on  stone  by  the  Gothic  architects.  Polychromy, 
if  it  exist  in  the  Gothic  cathedral,  can  be  found  only  in 
the  windows,  where  transmitted  light  loses  its  dazzling 
brightness  in  colored  glass,  and  enters  the  church  with 
its  softened  rays.  Gothic  architecture  is,  indeed,  the 
ennobling  thoughts  and  hopes  of  the  Christian  faith, 
wrought  out  with  beauty  in  imperishable  stone.  And 
he  alone  who  believes  may  read. 


232 


Ecclesiastical  Architecture. 


GOTHIC  ROOF-BATUSTRADES. 


Gothic  Style. 


233 


§ The  Roof = balustrade.  Marked  stages  of  develop- 
ment are  traceable  in  pointed  architecture  along  the 
junction  of  wall  and  roof.  Early  Gothic  (Fig.  163,  a) 
shows  the  frieze  and  cornice  mouldings  with  a balus- 
trade above  them,  which  is  pierced  with  quatrefoils  and 
surmounted  with  birds  of  serious  aspect.  Here  the  in- 
fluence of  Romanesque  architecture  is  apparent,  not 
alone  in  the  drollery  of  the  birds,  indicative  of  a vein  of 
religious  satire,  but  also  in  the  unbroken  horizontal  lines 
of  the  cornice  and  balustrade.  The  deep,  earnest  pur- 
pose of  the  Gothic  masters  to  banish  all  reminders  of 
the  Romanesque  architecture  from  their  edifices  is  mani- 
fested in  the  unique  method  they  employed  to  give 
prominence  to  pointed  forms  where  horizontal  forms 
and  lines  seem  inevitable.  They  omitted  the  frieze 
moulding  (Fig.  163,  b),  and  broke  the  horizontal  line  of 
the  cornice  with  the  crocketed  gable  of  the  window,  and 
at  the  apex  of  this  gable  they  set  a finial,  which  inter- 
rupted the  horizontal  line  of  the  balustrade.  Fig.  163, 
c and  ^ exhibit  the  fuller  development  of  this  idea,  giv- 
ing at  the  eaves  the  charm  and  grace  of  beauty.  The 
crocketed  gable  (c)  was  made  to  leap  high  above  the 
balustrade,  and  the  front  of  this  gable  was  pierced  with 
circular  foliated  forms.  In  this  way  the  prominence  of 
the  cornice  and  balustrade,  as  horizontal  features,  was 
greatly  reduced.  The  most  ornamental  development  of 
this  high  crocketed  gable  is  reached  when  the  face  (ct) 
is  filled  out  with  flamboyant  tracery. 

§ The  Gothic  Buttress.  The  development  of  the  but- 
tresses into  a more  striking  decorative  feature  of  the  edi- 
fice than  the  pilaster,  which  reflected  the  beauty  of  Gre- 
cian columns,  was  accomplished  in  the  perfected  Gothic 
style.  Buttresses  were  paneled  with  pointed  arches.  Even 
the  recessed  pointed  arch  is  found  among  these  panels, 


234 


Ecclesiastical  A rchiteci  ure. 


such  as  is  used  in  portals.  Above  the  pointed  arches  are 
crocketed  gables  with  their  flower-finials.  Some  but- 
tresses (Fig.  164)  have  a tabernacle  finial,  within  which 
is  placed  a statue.  The  flying  buttresses  are 
perforated  with  quatrefoils,  and  the  upper  side 
adorned  with  crockets.  The  continued  exist- 
ence of  a plant  depends  upon  the  seed-pro- 
ducing flower;  the  stability  of  the  Gothic 
building  is  found  in  its  resisting  buttresses. 
The  Creator  gave  to  the  flower  beauty  of  form 
and  splendor  of  color,  and  the  Gothic  archi- 
tect, in  imitation,  gave  to  the  buttress  grace- 
ful form  and  the  charm  of  sculptured  beauty. 


Fig.  164. 


details  of  the  gothic  buttress. 


Gothic  Style. 


235 


Fig.  165. 


§ Gothic  Spire.  The  greatest  height  in  a Gothic 
cathedral  was  reached  through  three  magnificent  steps. 
The  square  tower  rose  from  the  ground  a mighty  foun- 
dation ; the  hexagonal  belfry 
came  next,  an  open  clerestory, 
whence  church  bells  uttered 
forth  their  warnings  or  else  in- 
voked the  city  to  worship ; the 
third  story  was  the  pyramidal 
spire.  Fig.  165  shows  the  belfry 
and  spire.  It  is  a dazing  height 
to  which  the  spire  ascends.  Yet 
the  Gothic  builders  hesitated 
not.  Upward  they  climbed, 
weaving  stone  into  lace-like 
patterns  of  geometric  designs. 

They  paused  to  set  a crown  at 
the  termination  of  this  lace- 
paneling  of  the  spire.  Then 
they  built  with  solid  faces  until 
they  completed  the  spire  with 
the  cruciform  flower.  It  was 
not  pride  that  led  men  to  ven- 
ture such  height  and  to  beau- 
tify as  they  ascended.  Rather, 
they  were  inspired  by  the  Chris- 
tian faith,  that  approach  to 
the  heavenly  must  ever  be  in 
beauty  and  in  holiness.  Hence 
these  builders  pierced  the  sky 
with  these  spires,  which  grew 
in  beauty  as  they  neared  unto 
the  heavens,  and  in  this  beau- 
tiful structure  they  recorded  a 

symbol  of  their  faith.  from  church  at  fssuingf;n. 


236 


Ecclesiastical  Architecture. 


§ Window=tracery.  The  true  Gothic  window  is  the 
three-in-one  style.  The  foliated  figures  indicate  its  con- 
struction. The  encompassing  pointed  arch  (Fig.  166,  a) 


Fig.  166. 


£ a £ 


EXAMPLES  OF  WINDOW-TRACERY. 

has  in  its  head  the  larger  multifoil,  having  two  pointed 
arches  tangent  to  its  circumference.  Each  smaller  multi- 
foil has  also  two  pointed  arches  within,  tangent  to  their 
curves;  hence  the  name  three-in-one.  This  same  style 
often  had  the  quatrefoil  (Ji)  in  the  head  of  the  encom- 
passing arches,  and  cusps  adorned  the  concave  of  all 


Gothic  Style. 


237 


pointed  arches  and  foliated  figures.  The  flamboyant  tra- 
cery (< c ) expelled  the  geometrical  forms,  and  seemed  to 
consider  the  mullions  as  torches,  whose  flames  made  the 
tracery  in  the  window-heads.  The  ogee-arched  window 
(d)  lacks  either  symbol  or  poetry  in  its  make-up,  being 
a pretty  ornament.  Perpendicular  tracery  (<?)  is  prosaic, 
filling  an  opening  with  as  little  of  artistic  form  as 
possible. 

§ Gargoyles.  Along  the  line  of  the  eaves,  beneath 
the  parapet,  strange-shaped  figures  were  made  to  project 
in  the  greater  cathedrals.  They  served  as  mere  water- 


Fig.  167. 


gargoyle  ornaments. 


spouts.  It  is  not  their  use,  but  the  oddness  of  their 
shapes,  which  make  them  most  striking.  They  are 
devils  in  form,  animated  shapes  which  have  been  de- 
formed by  a wicked  spirit.  The  growth  of  a larger 
conception  of  the  worth  and  nobleness  of  man  came 
more  and  more  in  view  because  of  the  Christian  re- 
ligion. There  was  also  a parallel  growth  of  the  fiend- 
ishness in  all  whose  aims  were  to  debase  man.  These 
gargoyles  (Fig.  167)  are  the  Gothic  artists’  interpreta- 
tion of  demonology ; for  they  believed  that  evil  spirits 
took  hideous  and  monstrous  shapes  when  incarnated. 
One  feels  glad  to  see  rain-water  poured  through  them 
to  cleanse  them ; or  if  this  be  not  serious  enough,  one 
rejoices  to  behold  devils  fettered  to  such  harmless  em- 
ployment. 


238 


Ecclesiastical  Architecture. 


§ The  Vault’s  Key=stone.  The  vault  of  the  nave  al- 
lures the  eye  immediately  upon  entrance  into  the  Gothic 
cathedral.  The  key-stone  (Fig.  168)  locks  together  the 
vaulting  ribs.  Its  face  was  wrought  into  beautiful 
foliage  form,  keaf  and  flower  or  fruit  adorn  the  crown- 
F|G  |68  stone  of  the  Gothic 

vault.  The  massive 

splendor  of  the  nave- 
piers,  the  graceful 
beauty  of  the  super- 
imposed arches,  are 
but  the  architect’s 
wonderful  steps 
upward  from  the 
ground  to  this  beau- 
tiful, and,  when  size 
is  regarded,  insig- 
nificant key-stone. 
It  is  not,  therefore, 
surprising  that  the  sculptor  should  linger  over  its  face, 
and  with  graver  should  carve  thereon  alluring  forms  to 
hold  the  gaze  of  the  eye;  for  with  the  key-stone,  the 
builder  completed  the  most  daring  as  well  as  the  most 
beautiful  ceiling  which  the  creative  genius  of  man  has 
ever  formed. 


THE)  KEY-STONE. 


§ The  Arch-mouldings.  Gothic  architects  beauti- 
fied every  part  which  rendered  important  service  in 
their  building,  lest,  through  service,  they  might  become 
common.  Karly  Gothic  arches  (Fig.  169)  were  moulded 
with  a broad  soffit  below,  showing  the  influence  of  the 
Romanesque  style  ( vide  Fig.  97).  But  soon  the  mould- 
ing assumed  as  near  a pointed  character  as  rounds 
and  hollows  would  permit ; for  the  broad  soffit  below 
was  supplanted  by  the  half-round,  and  later  this  half- 


Gothic  Style. 


239 


round  was  brought  to  an  edge.  Hence,  the  charac- 
ter of  these  arch-mouldings  gives  most  helpful  assistance 


GOTHIC  ARCH-MOUTDING. 


in  the  determination  of  the  period  to  which  any  por- 
tion of  the  building  belongs. 


§The  Clustered  Column.  There  were  two  types  of 
the  clustered  column,  each  receiving  many  modifications 
in  details.  The  pier-base  in  one  was  a simple  circular 


240 


Ecclesiastical  Architecture. 


plinth  (Fig.  170,  c ),  and  each  individual  shaft  had  its  own 
separate  base,  also  circular,  placed  thereon.  The  other 
type  of  pier-base  consisted  of  a polygonal  pedestal  ( d ) 
in  which  was  outlined  the  common  base-plinth  and  the 

Fig.  170. 


G cL 


GOTHIC  CLUSTERED  COLUMNS. 

polygonal  bases  of  the  pier-shafts.  This  latter  type  is 
the  product  of  the  perfected  Gothic  art.  The  capitals 
of  these  types  of  piers  (a,  d)  were  exquisitely  sculp- 
tured, and  delayed  the  eye,  as  it  wandered  upward,  by 
their  surprising  beauty;  for  beauty  always  delights  when 
it  is  made  to  give  charm  to  the  strong. 


Gothic  Style. 


241 


§ Leaf=decoration  of  Capitals.  Nature  is  most  prod- 
igal in  the  variety  of  her  foliage,  leaves  deeply  ciefted 
and  lobed,  leaves  stellate  and  cordate,  she  displays  be- 


fore our  eyes  in  such  abundance  that  most  pass  them 
by  unobserved.  The  Gothic  architects  gathered  these 
forms  by  handfuls,  and  arranged  them  upon  the  capitals. 
(Fig.  171.)  That  high  refinement  and  great  loye  of  the 

16 


242  Ecclesiastical  Architecture. 

beautiful  which  leads  a woman  in  careless  grace  to 
place  floral  beauties  upon  her  person  for  adornment, 
led  these  Gothic  artists  to  take  the  lovely  forms  of 
leaves  and  lay  them  upon  the  slender  capitals  in  un- 
studied arrangement,  making  an  enrichment  for  the 
heads  of  Gothic  columns  more  various  and  not  less 
beautiful  than  the  Greeks  secured  in  the  Corinthian 
capitals.  The  consol,  a kind  of  bracket,  gave  support 
to  columnar  mouldings.  These  consols  (Fig.  171,  c) 
likewise  were  decorated  with  foliage.  A late  Gothic 
capital  (d)  shows  how  new  effects  were  sought,  simply 
by  the  distortion  of  natural  forms,  amounting  almost 
to  annihilation  of  them ; for  no  oak-leaf  ever  grew  with 
such  length  and  ugliness  as  is  here  shown,  nor  was 
acorn  ever  produced  in  such  uncanny  ways. 

§ Leaf=decoration  in  the  Frieze.  Foliage,  flower, 
and  fruit  we  see  in  the  Gothic  cathedral,  wrought,  by 
graceful  imitation,  into  stone.  Leaves  and  running 
vines,  with  their  foliage  and  fruit  (Fig.  172,  a,  b ),  were 
placed  in  the  frieze,  and  gave  to  the  eye  the  sight  of 
those  forms  of  nature  which  awaken  always  the  sense  of 
pleasure.  Indeed,  there  was  at  times  a naturalness  in 
these  imitations  which  afforded  one  of  the  many  sur- 
prises presented  in  the  Gothic  nave.  The  curvature 
of  the  stem  on  the  vine-leaf  ( c ) is  an  imitation  ; so, 
also,  is  the  veining  of  this  leaf  and  its  deep  clefts ; so 
the  young  grape-cluster  has  in  nature  just  such  a com- 
pact mass  as  is  here  sculptured.  But  nature  never 
laid  leaves  along  a vine-branch  after  this  fashion.  It 
is  not  the  manner  of  growth,  but  the  forms  grown, 
which  we  see.  Beauty  is  in  these  forms.  The  Gothic 
sculptor  was  true  to  nature  as  long  as  his  architec- 
tural faith  permitted.  Thereafter  he  obeyed  the  laws  of 
his  faith.  Hence  it  was  no  slavish  imitation,  for  the 


Gothic  Style. 


243 


sculptor  exercised  his  freedom  to  modify.  Sometimes 
there  was  no  attempt  at  imitation.  Leaves  of  just  such 
shape  as  are  seen  in  the  frieze  marked  (3)  or  ( d ) never 


grew;  but  the  veining 
is  here,  and  so  is  the  at- 
tachment of  the  leaf-stalk 
to  the  vine.  These  Gothic 
artists,  in  their  noblest 
endeavors,  made  vines 
which  seemed  to  bend, 
not  to  be  bent:  which 
seemed  also  to  be  ready 
to  spring  to  another  place 
as  soon  as  the  tendrils  be- 
came unfastened.  Infi- 
nite painstaking  is  pres- 
ent in  all  this  labor,  and 
united  with  it,  a love  of 
beautiful  forms.  It  is 
also  the  handiwork  of 
man : each  leaf  was  carved 
out  by  human  skill.  No 
mould  was  made  to  cast 
out,  from  its  tireless  self, 
innumerable  similar  oak- 
leaves  or  similar  vine- 
sections.  No,  for  it  is 
the  work  of  men,  and 
each  laborer  gave  some 
different  modification  to 
the  leaves,  making  them 
to  have  endless  minor 
differences,  just  as  the 
leaves,  plants,  and  trees 
in  both  field  and  forest. 


Fig.  172. 


fit 


FOLIAGE  IN  THE  FRIEZE. 


244  Ecclesiastical  Architecture . 

§The  Place  of  Sepulture.  A walk  along  the  side- 
aisles  of  a Gothic  cathedral  brings  us  face  to  face  with 
two  great  and  associated  thoughts  belonging  to  this  age 
of  Gothic  architecture.  One  of  them  is  expressed  in 
the  chapels  for  prayer,  those  beautiful  oratories  which 


Fig.  173. 


line  the  .side-aisles,  generally  of  the  choir,  sometimes  of 
the  nave.  Worshipers  went  into  the  nave  from  these 
places  of  prayer,  or  they  left  the  nave  to  enter  into 
them  for  meditation  and  prayer.  The  second  thought 
is  expressed  in  the  place  of  sepulture,  sometimes  being 
beautiful  chapels,  containing  stately  monument,  adorned 


Gothic  Style. 


245 


with  the  choicest  work  of  artists;  at  other  times  being 
a large  stone  tomb,  built  between  columns.  Fig.  173 
presents  the  tomb  between  columns.  As  a work  of  art, 
first  of  all,  the  geometric  ornamentation  is  to  be  ob- 
served, as  well  as  the  forms  of  pointed  architecture, 
used  simply  as  decorative  details.  The  tomb  has  a base 
which  is  a huge  stone,  or,  perhaps,  encrusted  masonry, 
sculptured  without  with  foliated  figures,  each  contain- 
ing some  heraldic  shield.  Above  is  the  body,  a great 
hollowed  stone,  little  less  in  size  than  the  base,  but 
with  paneled  work,  which  forms  niches  with  pointed 
canopies  above  them.  The  lid  is  surmounted  with 
the  effigy  of  the  dead.  This  is  a bishop’s  tomb.  Kings 
and  emperors  were  interred  with  surroundings  of  no 
greater  magnificence. 

§ Resume.  Before  those  special  characters  are  con- 
sidered which  are  found  in  Gothic  architecture  because 
of  the  taste  and  genius  of  the  various  nations  who  re- 
ceived it,  great  advantage  will  be  gained  by  reviewing 
those  general  features  which  are  common  to  the  pointed 
style,  as  they  are  combined  in  some  one  of  the  most  per- 
fect Gothic  cathedrals.  Fig.  148  is  such  an  edifice. 
The  ground-plan  is  cruciform.  The  lofty  nave  and  tran- 
septs have  at  their  crossing  a lantern,  which  harmonizes 
beautifully  with  the  noble  spires  of  the  western  facade. 
The  choir,  the  transepts,  and  the  nave  are  all  strongly 
buttressed  and  further  strengthened  by  flying  buttresses. 
The  type  is  new.  The  edifice  effects  its  own  marvelous 
influence  upon  each  beholder.  The  first  glance  lingers 
at  the  two  mighty  towers,  which  are  square  throughout 
its  three  lower  stories,  and  the  fourth  is  octagonal.  The 
spires  above  are  constructed  upon  this  story  by  means 
of  eight  ribs,  meeting  at  the  apex,  and  having  the  in- 
tervening triangular  spaces  filled  in  with  perforated 


246  Ecclesiastical  Architecture. 

tracery.  The  towers  are  pierced  with  window-apertures 
in  their  several  stories,  and  assume,  in  consequence,  that 
remarkable  charm  which  is  ever  present  when  strength 
is  recognized  as  belonging  to  an  apparently  fragile  con- 
struction. The  church,  an  inclosed  and  roof-covered 
cross,  is  within  the  tail-towered  archway,  which  is  the 
main  entrance.  A walk  around  the  church  reveals  the 
inclosing  walls  of  the  aisle  and  nave,  pierced  with  narrow 
and  high-pointed  windows.  Thus  the  greatest  possible 
provision  is  made,  consistent  with  stability  in  the  struc- 
ture, to  flood  the  aisles,  nave,  and  choir  with  light.  The 
Gothic  church,  as  seen  from  without,  is  a marvel  of  con- 
structive skill,  fashioned  into  a form  replete  with  grace 
and  beauty.  It  is  unique  and  peerless  among  architec- 
tural works,  having  only  in  the  Romanesque  style  a 
faint  yet  true  prophetic  anticipation.  The  church 
throughout  is  imbued  with  the  spirit  of  Christianity. 
It  reaches  daring  heights ; it  presents  indurate  stone 
transformed  into  graceful  shapes,  and  combined  so  as  to 
be  clothed  with  beauty.  Iris  a most  fitting  type  of  that 
religion  which  can  build  into  the  new  and  perfect  man 
all  who  are  wrought  upon  by  the  grace  and  power  in 
Jesus  the  Christ. 


Chapter  VIL 

GOTHIC  ARCHITECTURE  IN  EUROPE. 

§ Civil  Powers  and  the  Papacy.  Gothic  architec- 
ture had  its  development  after  the  great  civil  powers  of 
France,  England,  Germany,  and  Italy  had  wrung  great 
concessions  from  the  pope.  Indeed,  the  Papal  Church 
was  now  a divided  Church,  being  separated  into  the 
national  Churches  of  France,  England,  Germany,  and 
Italy.  Each  branch  recognized  the  pope  as  its  head ; 
yet  the  clergy  of  each  branch  was  compelled,  by  the 
State  in  which  it  was  confined,  to  do  homage  to  the 
ruler  in  all  matters  of  a civil  character.  The  national 
feeling  became  strong ; national  interests  swayed  the 
popular  mind.  Ecclesiastical  affairs,  in  consequence, 
assumed  a national  aspect,  and,  in  so  far  as  the  pope 
represented  the  policy  of  any  nation,  he  awakened  an- 
tagonism from  the  other  national  Churches.  Gothic 
architecture  was  accepted  everywhere  as  a new  style, 
and  received  in  each  nation  a development  which  re- 
flected the  national  life  and  spirit. 

§The  City  and  the  Cathedral.  The  century  in- 
cluded between  1130  and  1230  was  the  first  great  era  of 
modern  civilizations.  The  people  had  obtained  civil 
government ; they  had  broken  the  fetters  of  feudal 
tyranny.  Cities,  not  feudal  lords,  were  the  dominant 
factors  in  the  body  politic.  The  cities  had  accepted 
civil  and  religious  government.  They  were  equally 
loyal  to  both  forms  when  the  representatives  of  each 
ruled  well  within  its  own  sphere.  This  period  was  one 
of  great  growth ; priests  were  taught  the  limits  of  their 

247 


248  Ecclesiastical  Architecture. 

authority ; princes  learned  that  they  were  accountable 
to  the  people,  the  dispensers  of  justice,  and  not  their 
tyrants.  The  new  theory  was  that  rulers,  civil  and 
ecclesiastical,  were  the  most  distinguished  servants  of  a 
people  for  whose  service  the  people  gave  in  exchange 
wealth  and  honor.  The  people  were  full  of  joy  in  the 
new  order  of  things.  It  was  in  this  time  of  gladness 
that  they  built  cathedrals,  the  throne-churches  of  the 
bishop.  If  Gothic  architecture  is  unsurpassed  as  archi- 
tecture, if  it  wrought  out  of  stone  almost  incredible  re- 
sults, it  is  to  be  remembered  that  this  architecture 
appeared  when  the  State  and  the  Church  became  the 
educators  of  the  people  upon  principles  of  equity. 

I.  IN  FRANCE. 

§ French  Gothic.  Many  lovely  cities  of  France  pos- 
sess, each  of  them,  a cathedral  which  was  built  new  or 
reconstructed  under  an  enthusiasm  for  Gothic  architec- 
ture. Twelve  cathedrals  were  entirely  rebuilt  in  the 
seventy  years  between  1130  and  1 200,  and  by  the  middle 
of  the  13th  century  most  of  the  great  cathedrals  were  in 
process  of  construction,  if  not  completed.  France, 
therefore,  proffers  us  best  facilities  for  the  study  of 
Gothic  architecture.  Here  may  be  traced  the  steps 
leading  to  the  formation  of  the  oblong  Gothic  vault ; 
here  are  found  chapels  which  seem  but  walls  of  glass, 
supported  by  beautiful  buttresses;  here,  too,  the  fly- 
ing buttress  first  made  the  daring  leap  over  two  side- 
aisles  to  the  nave-wall ; and  here  we  find  the  loftiest 
naves  and  western  facades  of  most  perfect  beauty.  The 
love  of  beautiful  and  striking  combinations  has  ever 
made  the  French  leaders  in  the  world  of  fashion;  the 
same  love  inspired  them  in  their  cathedral-building,  and 
easily  placed  them  leaders  in  the  nobler  realm  of  Gothic 
ecclesiastical  architecture. 


Gothic  Style . 


249 


§The  Oblong  Gothic  Vault.  The  earlier  cross- 
vaults, and,  indeed,  those  ribbed  vaults  in  which  the 
semicircle  was  used,  frequently  fell  in  because  they  had 
so  little  height  or  were  insufficiently  buttressed.  The 
substitution  of  the  pointed  arch  for  the  round  arch  gave 
greater  height  to  the  vault  and  reduced  the  lateral 
thrusts.  The  Abbey  Church  of  St.  Denis  (1140)  shows, 
in  the  oldest  part  of  the  choir,  a vault  constructed  with 
pointed  arches  for  the  wall-ribs  and  the  cross-ribs ; but  a 
round  arch  was  employed  for  the  diagonal  ones.  The 
vaulting  bay  was  square.  The  Notre  Dame  of  Paris 
(1164)  introduced  the  hexapartite  pointed  vault  over  the 
square  bay.  Thirty  years  afterward  (1194)  we  find,  in 
the  Cathedral  of  Chartres,  the  oblong  Gothic  vault. 
The  bay  of  the  Gothic  vault  thereafter  was  a rectangle, 
made  by  making  the  intercolumniation  less  between  the 
nave-piers.  The  vault  itself  was  four-parted.  The  fill- 
ing-in of  the  triangular  spaces  of  the  vault  was  accom- 
plished either  through  horizontal  courses,  as  in  the 
dome-vault,  x>r  by  courses  parallel  to  the  ridge,  as  in 
the  cylinder  vault. 

§ The  French  Gothic  Chapel.  A most  beautiful  ex- 
ample of  French  Gothic  is  presented  in  the  Sainte  Cha- 
pelle,  of  Paris  (Fig.  174),  erected  in  1245.  The  church  is 
a double  church  and  simplest  in  form,  being  a choir  for 
the  priests  and  a nave  for  the  worshipers.  A massive 
continuous  water-table  around  the  building  shows  the 
height  of  the  floor  to  the  upper  church.  Below  was  the 
lower  church,  in  which  the  common  people  met  for 
service.  The  upper  church  is  built  between  buttresses. 
The  southern  side  is  given  in  the  engraving.  The  west- 
ern fa£ade  has  two  engaged  towers  at  its  sides,  com- 
pleted with  low  spires.  A porch  is  built  before  it,  and 
above  the  porch  is  a magnificent  rose-window.  Four 


250 


Ecclesiastical  Architecture. 


FIG.  174. 


large  windows  between  buttresses  inclose  each  side  of 
the  nave,  and  the  choir  is  semicircular,  having  seven 
lancet-windows  in  its  walls.  The  spire  above  the  junc- 
tion of  the  nave 
and  choir  was 
built  in  the  pres- 
ent century,  to  re- 
place the  original 
one.  The  win- 
dows give  orna- 
mentation to  the 
side,  for  the  but- 
tresses are  plain, 
being  divided  by 
simple  water- 
tables.  Rich  dec- 
oration  begins 
above  the  win- 
dows: First  come 
the  crocketed  win- 
dow-gables, then 
the  open-work  of 
the  parapet,  then 
the  pinnacles  of 
the  buttresses, 
and  then  the 
spires.  The  pious 
Louis  built  this 
splendid  chapel  to  receive  the  original  crown  of  thorns, 
which  he  had  purchased  of  Baldwin,  Emperor  of  Con- 
stantinople. Each  western  spire  has  sculptured  upon 
it,  half  way  in  its  height,  a crown  of  thorns,  thus  indi- 
cating the  sacredness  of  the  church.  The  crown  of 
thorns,  as  that  one  worn  by  the  Christ,  was  an  imposi- 
tion ; yet  the  love  of  Louis  was  genuine,  and  the  place 


SAINTE  CHAPEEEE,  PARIS. 


Gothic  Style. 


251 


this  chapel  has  in  Gothic  architecture  is  a most  fitting 
reward  of  this  love;  for  this  chapel  was  the  edifice  which 
suggested  the  chiefest  splendors  in  the  nave  of  the  finest 
Gothic  cathedrals.  An  architect  need  but  remove  the 
floor  of  the  upper  church,  and  complete  the  lower 
pointed  windows  as  arches,  and  place  aisles  about  the 
nave,  over  which  the  flying  buttress  leaps  to  the  nave, 
and  the  great  cathedrals  are  constructed  in  miniature. 

§ Window=tracery  and  Stained  Glass.  The  win- 
dows of  the  Sainte  Chapelle  are  the  three-in-one  style  of 
tracery.  The  expression  means  that  under  each  larger 
pointed  arch  there  are  two  smaller  ones.  This  is  the 
purest  and  best  Gothic  tracery.  The  transition  from 
this  style  to  the  flamboyant  was  not  difficult.  The 
change  expelled  the  beautiful  foliated  form  above  each 
pair  of  pointed  arches,  and  extended  the  curve  of  the 
pointed  arches  as  a double  curve  in  order  to  fill  up  this 
space,  and  then  the  forms  of  the  flamboyant  tracery  be- 
gan to  appear.  The  lambent  dartings  of  this  tracery 
pleased  only  when  taste  had  become  degraded.  Perhaps 
we  best  indicate  the  gorgeous  splendor  given  to  these 
windows  by  means  of  stained  glass.  The  windows  of 
the  nave  and  choir  are  fifteen,  and  in  them  are  portrayed 
the  creation  of  the  world ; the  fall  of  man  ; the  history 
of  the  patriarchs ; the  history  of  Moses ; scenes  from 
Judges,  Joshua,  and  Ruth;  the  history  of  the  three 
great  judges ; the  prophecies  of  Isaiah ; histories  of 
John  the  Evangelist,  the  Virgin,  and  the  infancy  of 
Jesus;  the  life,  death,  and  resurrection  of  Jesus;  the 
story  of  John  the  Baptist ; the  prophecies  of  Daniel, 
of  Ezekiel,  of  Jeremiah.  These,  and  more  events  con- 
nected with  the  Christian  religion,  are  set  forth  with 
brilliant  colors  in  these  windows,  and  the  devout  feel  it 
to  be  most  appropriate  that  those  whose  lives  and  deeds 


252 


Ecclesiastical  Architecture. 


have  inspired  the  human  race  for  centuries  to  holy 
faith  in  God  are  worthily  clad  in  raiment,  by  Gothic 
artists,  more  beautiful  than  the  vesture  of  kings  and 
princes. 

§The  French  Gothic  Cathedral.  The  French  cathe- 
dral is  cruciform,  and  its  nave  and  choir  are  surrounded 


prises  which  meet  an  observer  in  his  walk  about  the 
choir,  inspecting  these  chapels,  a thought  that  will  not 
down ; namely,  that  modern  nations  are  indissolubly 
connected  with  the  Christian  religion.  Costly  monu- 
ments of  kings  and  princes  adorn  chapels  of  sepul- 
ture in  most  of  the  Christian  cathedrals.  The  French 
built  cathedrals  of  most  imposing  dimensions.  The 
length  of  Amiens  is  521  feet;  that  of  Rheims,  430  feet. 
All  the  smaller  cathedrals  are  above  330  feet  in  length. 
A side  view  of  Notre  Dame  (Fig.  176)  will  be  most  in- 
structive, as  it  will  exhibit  one  of  the  earliest  attempts 
of  Gothic  architects  to  buttress  the  lofty  walls  of  the 
nave.  Consider  the  magnitude  of  this  structure.  The 


PLAN  NOYON  CATHEDRA!,. 


Fig.  175. 


by  single  or  double 
aisles.  A marked  pe- 
culiarity in  these 
cathedrals  (Fig.  175) 
is  the  choir-chapels. 
They  are  built  be- 
tween the  buttresses, 
usually  polygonal  in 
form  and  richly  deco- 
rated. They  were  de- 
positories for  the  relics 
and  treasures  of  the 
church.  One  thought 
constantly  obtrudes  it- 
self among  the  sur- 


Gothic  Style. 


253 


roof  is  356  feet  in  length;  the  width  at  the  transepts 
is  144  feet;  the  ridge  of  the  roof  is  152  feet  above  the 
ground,  and  the  towers  rise  204  feet  high.  Flying 
buttresses,  fronted  by  pinnacles,  leap  to  the  triforium 
and  clerestory ; their  upper  faces  are  straight  lines,  and 
their  side  faces  are  not  pierced  with  foliated  figures. 
The  windows  of  the  choir-chapels  are  completed  with 
the  crocketed  gable  in  the  manner  of  the  perfected 
Gothic.  The  southern  facade  is  in  view,  and  we  see  in 


Fig.  176. 


NOTRE  DAME,  PARIS. 


the  transept  a great  rose-window.  Bas-reliefs  ornament 
this  southern  portal.  Here  the  history  of  St.  Stephen  is 
cut  in  stone,  presenting  him  both  as  teacher  and  as 
martyr.  These  cathedrals  are  always  magnificent  mu- 
seums of  Christian  art,  and,  for  the  devout,  they  may 
become  places  of  Christian  worship. 

§ The  Triforium’s  Beauty.  Bach  great  Gothic 
church  has  its  own  peculiar  charms  in  the  triforium, 
and  acquaintance  with  one  form  excites  interest  in  all, 
for  we  see  how  much  the  architect  loved  this  division 


254 


Ecclesiastical  Architecture. 


Fig.  177. 


of  the  nave- wall.  The  example  (Fig.  177)  is  transitional, 
showing  the  influence  of  the  Romanesque  style.  Within 

the  pointed  arches 
of  the  gallery  are 
round  arches  ; the 
circle  also  is  prom- 
inent in  the  arch’s 
head.  Not  one 
high  arcade,  but 
two  low  ones,  make 
the  filling-in  of  the 
triforium  space. 
Leaves,  vines,  ro- 
settes decorate  re- 
spectively  the 
lower,  middle,  and 
upper  frieze.  Stat- 
uary adorn  the 
spaces  in  the  upper 
arcade,  and  colored 
windows  the  spaces 
in  the  lower.  Great 
painstaking  is  ap- 
parent in  order  to 
render  the  trifori- 
um beautiful.  The 
French  artist  re- 
tained uniformity  in  the  arches  and  ornamentation  of 
the  arcades ; but,  in  the  pose  of  the  figures  within  the 
upper  arcade  he  gave  the  variety  which  ever  accompa- 
nies an  assemblage  of  persons  in  life. 


FROM  CATHEDRAL,  OF  AMIENS. 


§The  French  Gothic  Sepulcher.  France  has  in- 
terred many  of  her  illustrious  dead,  civilians  as  well  as 
ecclesiastics,  within  the  sacred  precincts  of  her  cathe- 


Gothic  Style. 


255 


drals.  The  visitor  to  these  revered  places  may  not  in- 
quire into  the  excellence  of  all  of  the  lives  of  those  who 
find  the  last  resting-place  within  the  sacred  edifice. 


Fig.  178. 


FRENCH  GOTHIC  CHAPEt,. 


Enough  is  it  for  all  to  know  that  those  who  lie  here  en- 
tombed have  been  found  worthy  by  the  authorities  of 
the  Church  for  this  honor.  The  sepulcher  (Fig.  178)  is 
late  Gothic,  a return  to  the  earlier  noble  Gothic  styles. 


256 


Ecclesiastical  Architecture. 


Yet  it  is  impressive.  Statuary,  with  columns  for  pedes- 
tals, beautify  the  aisle-front  of  the  tomb ; the  walls  of  the 
chapel  are  niched  for  the  reception  of  statuary;  the 
canopy  above  the  tomb  is  tabernacled,  and  in  the  cells 
is  statuary.  In  this  chapel  for  the  dead  the  human 
figure  is  employed  both  as  symbol  and  as  ideal  por- 
trayals of  eminent  saints.  And,  as  if  to  instruct  us, 
kneeling  figures,  with  clasped  hands  and  with  faces  to- 
ward the  altar,  are  placed  upon  the  tomb.  Surely  this 
is  no  parade  of  art,  but  an  earnest  endeavor  to  teach 
that  death  may  be  best  met  when  the  memories  of 
saintly  lives  are  present  and  the  attitude  of  the  human 
heart  is  that  of  prayer. 

II.  IN  ENGLAND. 

§ The  Parliamentary  Constitution.  The  struggles 
which  limited  the  English  royal  power  were  coeval  with 
the  rise  and  progress  of  Gothic  architecture  in  England. 
John  confirmed  the  Magna  Charta  in  1215,  which  was 
wrested  from  him  “by  a combination  of  all  classes  of 
free  subjects,  and  it  gave  rights  to  them  all.”  Yet  three 
centuries  of  conflict  were  necessary  to  interpret  to  the 
English  nation  this  greatest  of  civil  documents.  The 
clergy,  the  barons,  and  the  traders  secured  the  concessions 
of  the  charter  from  the  king.  The  limitations  upon  the 
kingly  prerogative  gave  increased  powers  to  the  ruling 
classes,  both  civil  and  ecclesiastical.  Hence,  later  kings 
espoused  the  cause  of  the  people,  in  order  to  curb  the 
influence  of  ecclesiastics  and  barons,  and  there  resulted, 
out  of  the  long  period  of  struggle,  an  English  nation 
under  a constitution.  The  Romanesque  architecture 
was  built  when  the  Saxons  were  being  brought  to  sub- 
mit to  the  Norman  conquerors,  and  these  Norman  rulers 
were  being  taught  the  language  of  the  conquered  peo- 
ple. Not  strange  is  it,  then,  that  in  the  period  when 


Gothic  Style. 


25  7 


kings  and  barons  of  Norman  lineage  had  learned  to  love 
most  the  English  nation,  a new  style  of  architecture 
should  modify  those  ecclesiastical  structures  which  stood 
as  witnesses  to  times  when  the  foreign  king  and  baron 
loved  the  land  of  their  birth  above  the  country  which 
they  had  won  by  the  sword.  Hence,  many  English 
cathedrals  are  a mixed  Gothic. 

§ Intermixture  of  Styles.  Some  Norman  cathe- 
drals, such  as  Durham,  Norwich,  and  Oxford,  present 
changes  in  the  interior  only  through  the  introduction 
of  the  Gothic  vaults.  A more  striking  modification  is 
where  the  Norman  nave,  with  its  strength  and  redun- 
dant beauty,  is  completed  with  the  graceful  Gothic  choir, 
abounding  in  the  charms  of  lofty  pointed  arches,  and 
flooded  with  sunlight  softened  into  colors  by  magnifi- 
cent Gothic  windows.  Gloucester  and  Ely  and  Here- 
ford are  examples  of  this  change.  Peterborough  Cathe- 
dral is  Norman  entire,  except  the  western  fagade,  which 
is  early  Gothic,  and  the  second  choir,  which  is  built  in 
the  late  Gothic  style.  Sometimes  a Norman  structure 
was  untouched  in  its  general  form,  but  on  all  surfaces 
where  Gothic  features  could  be  introduced  as  orna- 
ment, the  architect  placed  them,  even  though  he  effaced 
Norman  decoration.  Such  change  the  Cathedral  of 
Winchester  underwent,  and  presents  now  a Norman 
edifice,  decked  out  with  the  details  of  the  perpendicular 
style.  Thus  the  Gothic  style  laid  its  hand  upon  most 
of  the  noble  Norman  cathedrals. 

§ The  English  Gothic  Choir.  As  compared  with 
Romanesque  choirs,  all  Gothic  choirs  have  greater 
length.  And  because  the  English  Gothic  architect 
avoids  in  his  structure  such  daring  altitudes  as  are 
reached  in  the  cathedrals  of  France  and  Germany,  the 

*7 


25 8 Ecclesiastical  Architecture . 

length  of  English  cathedrals  becomes  much  more  notice- 
able. Certain  peculiarities  are  immediately  discernible 
by  considering  the  choir  and  transepts  (Fig.  179)  of  old 
St.  Paul’s  Cathedral,  Condon.  The  transepts  are  most 
prominent.  The  buttresses  and  flying  buttresses  excite 
no  special  attention,  for  they  seem  to  be  doing  no  re- 


Fig.  179. 


OLD  ST.  PAUIy’S  CATHEDRAE. 

markable  service,  since  the  nave  is  low.  Often  the  fly- 
ing buttresses  of  cathedrals  were  built  beneath  the  roof 
over  the  aisle,  thus  declaring  that  they  assumed  no  im- 
portant place  in  the  mind  of  the  architect  as  a decorative 
feature  of  his  building.  The  square  termination  of  the 
choir,  however,  commands  notice.  It  seems  a wall  of 
glass ; below  there  are  seen  seven  tall,  slender,  pointed 
windows,  and  above  them  a magnificent  rose-window. 
Again,  the  square  tower  over  the  crossing  is  a peculiar- 


Gothic  Style . 


259 


ity  of  English  Gothic.  As  seen  from  the  interior,  these 
towers  form  lanterns  above  the  crossing,  and  add  a new 
beauty  to  the  surroundings  of  the  choir.  Yet  they  con- 
tribute most  effectively  to  the  impression  of  the  English 
cathedrals  as  made  upon  the  observer  when  viewed  from 
without.  Canterbury,  Ely,  York,  Eincoln,  Durham,  and 
Gloucester  have  the  square  tower  above  the  crossing. 
Salisbury,  Lichfield,  and  Chichester  have  these  central 
towers  completed  with  spires.  They  all  were  erected 
in  the  fourteenth  and  fifteenth  centuries,  and  have  the 
decorative  elegance  which  is  characteristic  of  Gothic 
architecture  in  those  times. 

§The  Second  Choir.  The  length  of  the  choir  some- 
times equaled  the  length  of  the  nave  in  English  cathe- 
drals. At  least  it  seemed  so  when  one  viewed  the  ex- 
terior. Sometimes  this  increased  length  was  secured 
by  the  addition  of  a chapel  to  the  choir ; as  the  Chapel 
of  Henry  VII  to  the  choir  of  Westminster  Abbey,  or 
the  Chapel  of  the  Nine  Altars  to  the  choir  of  Durham. 
The  termination  of  the  cathedral  choir  was  sometimes 
marked  by  a second  transept,  as  in  the  cathedrals  of 
Salisbury  and  Lincoln.  There  is  no  example  of  double 
side-aisles  in  England,  nor  are  aisle-chapels  found. 
Canterbury  and  Westminster  have  apsidal  chapels,  yet, 
generally,  these  chapels  were  banished  from  the  English 
Gothic  edifice,  perhaps  because  they  were  too  prom- 
inent reminders  of  the  Norman  style. 

§ Cathedral  with  Towers.  The  harmony  of  pro- 
portion in  the  dimensions  of  the  great  French  cathedrals 
is  wanting  in  the  English.  The  western  facade  of  West- 
minster, taken  by  itself,  is  imposing.  Each  tower  seems 
but  four  lofty  and  beautiful  buttresses,  which  are  united 
into  one  structure  by  masonry,  forming  pointed  and 


260  Ecclesiastical  Architecture. 

circular  windows.  Then  these  two  towers  are  combined 
into  the  western  facade  (Fig.  180)  by  the  masonry  of 
the  porch  and  that  of  the  great  western  window.  But 
the  far-projecting  transept  interferes  with  the  pleasing 

effect  of  this  front. 
However,  this  fa- 
cade is,  when  taken 
by  itself,  a noble 
structure,  and  one 
which  has  found 
great  favor  with 
the  architects;  for, 
in  general  outline, 
it  is  the  type  for 
a Gothic  front  in 
many  of  the  mod- 
ern  denomina- 
tional churches. 
The  facade  of  Lin- 
coln Cathedral  is 
peculiar,  being  a 
high  screen , higher 
than  the  eaves  of 
the  nave,  extend- 
ing  north  and 
south  beyond  the 
boundaries  of  the 
nave,  and  pierced  with  lofty  Norman  doorways.  With 
its  paneling  and  the  polygonal  terminations  at  the  north 
and  south,  the  front  is  imposing,  and  its  effect  is  in- 
creased by  the  two  western  towers  of  the  nave,  rising 
above  it  high  in  the  air.  The  western  facade  of  this 
cathedral  is  simply  a transept,  terminating  the  nave  at 
the  west,  and  may,  perhaps,  add  to  the  general  impress- 
iveness of  the  cathedral  when  viewed  from  a distance. 


Fig.  180. 


WESTMINSTER  ABBEY. 


Gothic  Style. 


2b\ 


Fig.  181. 


§ Cathedral  with  Spires.  Gothic  architecture  in 
theory  completes  all  its  towers  with  spires;  yet  com- 
paratively few  Eng- 
lish cathedrals  have 
spires,  as  some  have 
been  removed,  and 
others  were  planned, 
but  never  built.  The 
Cathedral  of  Eich- 
field  (Fig.  181)  has 
spires  upon  the 
western  towers  and 
the  central  one.  It 
is  a beautiful  ex- 
ample of  English 
Decorative  Gothic. 

The  towers  are  ma- 
jestic, not  the  portals 
which  pierce  them  ; 
the  arcading  pleases, 
but  creates  no  sur- 
prise ; the  great  west- 
ern window,  how- 
ever, comports  well 
with  the  majesty  of 
the  towers.  The 
splendor  and  the 
size  of  the  portals 
occupy  the  thoughts 
of  an  observer  as  he 
enters  into  the  great 
European  cathedrals,  and  these  portals  exclude  the 
porch-idea.  But  English  cathedrals  have  portals  which 
seem  insignificant,  though  beautiful ; but  they  admit 
into  a porch,  which  surprises  with  the  beauty  of  its 


LICHFIELD  CATHEDRAL. 


262 


Ecclesiastical  Architecture. 


vaulting  and  the  richness  of  its  sculpturing.  Inclement 
England  as  compared  with  sunny  France,  may,  perhaps, 
account  for  the  development,  among  the  English,  of  the 
porch  rather  than  the  portal  in  their  cathedrals. 

§ Parish  Church  with  Central  Towers.  Most  at- 
tractive, indeed,  are  the  small  English  Gothic  churches. 

The  Howden 
Church  (Fig. 
182)  was  built  in 
1310.  The  es- 
sentials of  the 
Gothic  structure 
are  readily  rec- 
ognized. There 
are  four  great 
buttresses  in  the 
western  facade ; 
the  two  central 
ones  have  on 
their  surface 
Gothic  taber- 
nacles for  stat- 
uary, and  each 
is  completed 
with  a beautiful 
finial.  The  por- 
tal is  deeply 
recessed,  and 
above  it  is  the 
great  Gothic  window,  with  long,  slender  mullions  and 
striking  quatrefoils.  The  triangular-crocketed  hood  is 
above  it.  The  proportions  in  this  parish  church  are 
better  than  in  a cathedral.  The  Gothic  parish  churches 
without  towers  are  many  in  England.  They  are  finely 


Fig.  182. 


HOWDEN  CHURCH. 


Gothic  Style. 


263 


adapted  to  the  forms  of  worship  in  the  Established 
Church ; for  the  Anglican  Church  retains  the  altar-table 
and  a variety  of  services  by  the  side  of  and  before 
the  altar.  Hence  the  plan  of  a parish  church,  which 
suited  the  needs  of  worship  in  the  fourteenth  century, 
meets  all  the  demands  of  the  Anglican  Church  in  the 
nineteenth  century.  A century  later  the  eastern  tower 
was  erected.  The  utility  of  the  tower  as  a belfry, 
not  its  peculiar  fitness  to  awaken  admiration  as  an 
architectural  feature,  seems  to  have  designated  its  posi- 
tion at  the  choir ; for  to  the  architect  the  buttress,  with 
its  tabernacles  and  finials,  the  portal  and  western  win- 
dows, had  more  charm  than  the  height  and  the  massive 
strength  of  the  tower.  A century  later,  taste  had 
changed.  Perpendicular  Gothic  reigned,  and  the  beauty 
of  pointed  Gothic  gave  place  to  the  depressed  Tudor 
arch ; but  the  tower,  with  its  strength  and  added 
beauty,  survived. 

§ Parish  Church  with  Western  Tower.  Construct- 
ive unity  in  the  whole  edifice  was  attained  by  Gothic 
architecture  in  the  Fotheringay  Church  (Fig.  157), 
which  has  the  western  tower  incorporated  in  the  struc- 
ture. There  is  also  harmony  of  proportions : its  length, 
breadth,  and  height  combine  with  the  dimensions  of  its 
simple,  strong,  beautiful  tower,  and  produce  a building 
most  attractive  and  churchly.  Another  type  of  the 
church  with  western  central  tower  is  shown  in  St. 
Mary’s,  of  Taunton  (Fig.  183),  built  about  1500.  The 
nave  has  no  clerestory ; its  roof  is  elevated  but 
slightly  above  the  roofs  of  the  aisles.  Hence,  the  body 
of  the  church  is  low.  The  windows  are  broad,  occupy- 
ing most  of  the  space  in  the  side-walls.  The  tower  is 
external  to  the  nave,  not  incorporated  in  the  structure. 
The  western  face  of  the  tower  has  a great  pointed  win- 


264 


Ecclesiastical  Architecture. 


Fig.  183. 


dow  in  it,  above  the  deeply- recessed  portal.  Eight  en- 
ters through  it  into  the  nave.  The  low  nave  and  the 
large  western  window  before  it 
are  features  which  we  have  no- 
ticed as  characteristic  of  the 
English  cathedrals.  The  lofty 
tower  of  St.  Mary’s,  at  Taun- 
ton, is  profusely  elaborated  with 
decoration,  and  the  gay  splen- 
dors of  its  battlements  and  tur- 
rets harmonize  but  poorly  with 
the  general  plainness  of  the 
church.  If  we  remove  the  up- 
per story  of  the  tower,  or  the 
two  upper  stories,  the  church 
becomes  similar  to  many  parish 
churches  of  England  with  which 
the  richest  associations  of  the 
English  people  are 
connected;  for  the 
Protestant  Reforma- 
tion developed  a rich 
religious  life  in  Eng- 
land, produced  the 
liturgy  of  the  English 
Episcopal  Church, 
formed  the  incompar- 
able  litany  in  its 
prayer-book,  and  made  parish  churches  the  principal 
religious  homes  of  the  people  for  centuries. 


ST.  MARY'S,  AT  TAUNTON. 


§ English  Gothic  Ceilings.  The  multiplication  of 
ribs,  and  the  insertion  of  minor  ones,  formed  with  the 
ridge  net-like  patterns  on  the  stone  vault.  This  rami- 
form  vault  ( vide  Fig.  154)  is  found,  with  beautiful  varh 


Gothic  Style. 


265 


ations,  in  the  Cathedrals  of  Exeter,  Gloucester,  Win. 
Chester,  and  several  others.  From  this  vault  the  fan- 
shaped vault  (vide  Fig.  155)  is  a natural  development, 
and  is  found  especially  in  chapter-houses  and  a few 
chapels.  The  pendant- vault  ( vide  Fig.  156)  is  a variety 
of  ceiling  which 
was  carried  out 
with  most  remark- 
able effects  by  the 
English  architects. 

But  perhaps  in 
the  wood  ceilings 
which  they  con- 
structed, the  En- 
glish far  surpass 
other  nations. 

The  hammer-truss 
beam  (Fig.  184), 
not  alone  trans- 
ferred the  strains 
of  the  roof  low 
down  on  the  wall, 
but  was  made  a 
most  strikingly 
decorative  element.  The  French  were  the  first  to 
bring  the  buttress  into  a most  distinguished  ornamental 
feature ; the  English  may  claim  priority  in  bringing  the 
truss-beams  of  the  ceiling  into  most  beautiful  decorative 
aids.  The  parish  church  presents  many  varieties  of  the 
wooden  ceiling,  often  having  the  beams  most  richly 
carved.  The  interior,  rather  than  the  exterior  of  an 
English  church,  received  ornamentation.  The  foliage 
in  the  capitals  and  corbels  were  well  shaped  and  deeply 
incised,  standing  out  clear  from  the  surface.  The  inner 
curve  of  an  arch  was  adorned  with  cusps  of  various 


Fig.  184. 


ST.  STEPHEN’S,  AT  NORWICH. 


266 


Ecclesiastica  l Arc  hit ec  i ure. 


designs.  Later,  the  paneling  of  surfaces  became  the 
custom.  And  one  feels,  when  within  these  English 
cathedrals  and  churches,  that  their  beauties  are  near  by, 
for  their  naves  do  not  astonish  by  their  wondrous  height, 
but  charm  by  the  loveliness  all  around  and  within  reach. 
Fitting  instructors  they  are  to  all  believers  that  good 
works  are  to  be  done  near  by  in  the  ordinary  walks 
of  life. 

III.  IN  GERMANY. 

§The  Decay  of  the  Sovereign’s  Power.  The  age 

of  Gothic  architecture  was  coeval  with  the  decline  of 
the  emperor’s  power  in  Germany.  Frederick  II  gave 
to  the  spiritual  princes  in  1222  a legal  right  to  their 
usurped  dominions,  “ agreeing  not  to  introduce  into 
their  territories,,  without  their  consent,  new  coinage,  or 
customs,  or  tolls.”  Fifteen  years  later  he  granted  the 
same  rights  to  the  secular  princes.  A few  years  prior 
to  these  concessions,  the  right  to  choose  the  emperor  was 
transferred  from  all  the  immediate  nobles  to  the  spiritual 
princes,  officially  known  as  the  archbishops  of  Mainz, 
Cologne,  and  Treves,  and  to  the  secular  princes  belong- 
ing to  the  houses  of  Wittelsbach  and  Saxony,  the  mar- 
grave of  Brandenburg,  and  the  king  of  Bohemia.  The 
Golden  Bull,  issued  in  1356,  gave  clear  definition  to 
these  electorates  and  their  rights.  By  this  bull  three 
spiritual  electorates  were  confirmed,  belonging  to  the 
archbishops  of  Mainz,  of  Cologne,  of  Treves,  and  four 
secular  electorates,  belonging  to  the  king  of  Bohemia, 
the  Rhenish  palsgrave,  the  duke  of  Saxony,  and  the 
margrave  of  Brandenburg.  The  electors  were  invested 
with  full  sovereign  rights  within  their  territories,  and 
their  subjects  were  allowed  to  appeal  to  the  imperial 
tribunals  only  if  the  administration  of  justice  should  be 
refused.  The  territory  of  an  elector  was  to  be  indi- 


Gothic  Style. 


267 


visible,  and  inheritance  was  based  on  the  principle  of 
primogeniture.  These  sovereign  prerogatives,  which 
were  enjoyed  by  the  electoral  principalities,  awakened 
envy  in  the  minor  principalities,  and  led  to  endeavors  to 
secure  for  them  greater  privileges.  The  free  cities  also 
wanted  extension  of  powers.  The  great  curb  upon  the 
princes  was  the  diet,  which  was  formed  in  most  princi- 
palities. The  mediate  prelates,  the  mediate  nobles,  the 
mediate  cities,  composed  the  diet,  and  these  bodies 
claimed  the  rights  of  sanctioning  taxation,  of  advising 
in  matters  relative  to  the  expenditure  of  public  revenue, 
and  of  demanding  the  administration  of  justice.  Ger- 
many, therefore,  was  governed  by  princes,  with  such 
restrictions  as  the  diet  imposed,  and  the  emperor  was 
sovereign  lord  only  in  name. 

§ Transitional  Architecture.  When  the  old  order, 
civil  and  ecclesiastical,  began  to  change,  the  greatly  be- 
loved Romanesque  style  began  also  to  assume  modifica- 
tions. The  Apostles’  Church  at  Cologne  had  its  interior 
remodeled  by  the  use  of  pointed  arches  and  Gothic  vaults. 
The  great  nave  of  St.  Peter  and  St.  Paul’s,  at  Neuweiler, 
in  Alsace,  was  transformed  into  almost  a perfect  Gothic 
nave.  The  transitional  churches  in  Germany  are  very 
many ; for  the  powerful  hierarchy  of  the  papacy  cher- 
ished the  form  of  the  Romanesque  church  as  evidence, 
planted  everywhere  in  Europe,  of  the  triumphant  march 
of  the  patriarch  of  Rome  to  a spiritual  throne  mightier 
than  civil  powers.  Gothic  churches,  for  a long  time, 
were  built  after  the  outward  form  of  the  Romanesque, 
having  low  walls,  small  windows,  the  nave-bay  square 
and  corresponding  to  two  bays  in  the  aisle.  The 
ground-plan  of  the  Minster  at  Schlettstadt  will  show 
the  influence  of  the  Romanesque  upon  the  Gothic  style 
after  the  new  style  had  become  adopted  in  Germany. 


268 


Ecclesiastical  Architecture. 


The  six-parted  vault  (Fig.  185)  is  used  in  the  nave.  The 
apsidal  chapels  at  the  terminations  of  the  aisles  are 
strikingly  Romanesque.  The  awk- 
ward extension  of  the  choir  shows 
how  the  edifice  was  planned  to  re- 
ceive the  short  choir  of  the  Ro- 
manesque. Length  in  the  choir, 
such  as  the  Gothic  demanded,  was 
secured  by  this  clumsy  addition. 
This  German  Gothic  church  has 
a square  eastern  termination  and 
no  choir-aisle.  There  are  also 
churches  in  this  Gothic  style  with 
a western  choir.  These  are  all 
German  Romanesque  features,  and 
witness,  undoubtedly,  not  alone  to 
the  difficulty  of  the  new  style  in 
supplanting  the  old,  but  to  pe- 
culiar advantages  in  the  Roman- 
esque plans  for  long-established 
features  of  worship  in  Germany 
which  wTere  more  difficult  to  change  than  are  archi- 
tectural plans. 

§ German  Gothic.  Gothic  architecture  in  France 
and  England  had  passed  into  the  decorative  period  be- 
fore a distinctively  Gothic  building  was  erected  in  Ger- 
many. The  ground-plan  of  Magdeburg  Cathedral  (Fig. 
186)  is  the  German  early  Gothic.  The  symmetry  of 
proportion  is  like  that  of  the  French  early  Gothic.  The 
German  architect  retained  the  choir-chapels  and  the 
choir-aisle  as  heirlooms  from  the  Romanesque  style. 
Germans  began  to  build  Gothic  churches  with  the  ideals 
of  the  French  decorative  Gothic  in  mind.  This  fact 
accounts  for  the  comparatively  few  Gothic  edifices  be- 


Fig.  185. 


PL,AN  OF  CHURCH 
AT  SCHUETTSTADT. 


Gothic  Style. 


26  9 


longing  to  the  early  period  in  Germany. 
With  these  advantages  it  is  not  surprising 
Fig.  186.  that  Germany  presents  the 
most  perfect  Gothic  cathe- 
drals and  churches.  Yet 
there  are  novel  departures 
from  the  Gothic  type,  such 
as  are  seen  in  Gothic  hall- 
churches  ; and  those  brick 
churches,  where  Gothic 
ornamen- 


tation in 
the  west- 
ern facade 
consists  of 
slender 
buttress- 
es, rising 
plan  magde BURG  above  the 

CATHEDRAL.  rQof>  with 

the  intervening  spaces  em- 
bellished with  geometric 
patterns  rather  than  with 
pointed  arcades  and  crock- 
eted  gables  and  finials. 

§ Gothic  Parochial 
Church.  The  beautiful 
church  at  Thann  (Fig. 

187)  is  composed  of  a 
nave  and  choir  without 
transepts.  It  is  as  if  the  church  at  thann. 

upper  church  of  the  lovely  Sainte  Chappelle,  in  Paris 
( vide  Fig.  174),  were  set  upon  German  soil,  with  the  ad- 
dition of  an  essentially  German  Gothic  spire,  placed  at 


270  Ecclesiastical  Architeci  urE. 

the  north  corner  of  the  western  fagade.  The  church 
was  built  in  the  middle  of  the  fourteenth  century,  the 
tower  about  two  centuries  later.  The  whole  edifice  ex- 
hibits most  remarkably  the  Gothic  features  which  may 
be  retained  in  a small  edifice.  The  nave  and  choir  con- 
stituting the  church  are  inclosed  by  tall  and  narrow 
Gothic  windows,  separated  by  buttressed  piers.  These 
buttresses  are  made  slenderer  as  they  ascend ; the  di- 
visions are  marked  by  water-tables.  Tabernacle-work 
adorns  the  upper  stage.  Gargoyles,  parapet,  and  pin- 
nacles are  retained,  and  also  the  steep  roof.  The  tower 
seems  but  four  massive  buttresses,  so  united  together  as 
to  form  pointed  openings,  and  these  buttresses  are  pan- 
eled with  the  pointed  arch.  The  lower  stage  of  the 
spire  is  an  octagon,  with  four  of  its  sides  turned  into 
ornamental  corners,  and  the  remaining  four  are  treated 
as  window-apertures.  A pyramidal  termination  com- 
pletes the  spire,  being  beautiful  and  open  tracery-work. 
This  style  of  church  is  most  attractive,  and  is  the  Gothic 
church  which  readily  accommodates  itself  to  any  of  the 
forms  of  Christian  worship  in  our  day. 

§The  Gothic  Hall=Church.  The  Church  of  St. 
Elizabeth,  at  Marburg  (1235),  marks  the  first  appearance 
of  the  type  known  as  the  hall-church.  The  common 
features  in  them  all  were  the  absence  of  shed-roofs  over 
the  aisles,  the  absence  of  a clerestory,  the  absence  of  fly- 
ing buttresses,  all  of  which  departures  from  the  ordinary 
Gothic  edifice,  as  seen  from  without,  may  be  traceable 
to  the  internal  arrangement,  according  to  which  the 
side-aisles  had  the  same  height  as  the  nave.  The  Cathe- 
dral of  St.  Stephen’s,  Vienna  (Fig.  188),  is  the  finest  ex- 
ample of  this  type.  The  western  fagade  is  dwarfed  by 
the  high,  steep  roof,  yet  the  front  would  be  most  impos- 
ing and  novel  before  a nave  which  harmonized  with  its 


271 


Gothic  Style. 

Fig.  188. 


CATHEDRAL,  Ob'  ST.  STEPHEN’S,  VIENNA. 


27 2 Ecclesiastical  Architecture. 

proportions.  The  side-buttresses  are  massive,  and  be- 
tween each  pair  two  pointed  windows  are  built,  whose 
arches  reach  the  height  of  the  eaves.  A gable,  richly 
decorated,  rises  above  each  pair  of  windows,  and  gable- 
roofs  extend  from  them  to  the  great  roof  of  the  nave. 
The  spire  tapers  from  the  ground  upward  to  its  summit. 
The  example  is  the  noblest  of  this  type. 

§ Interior  of  a HalNchurch.  Piers,  lofty  arches, 
and  a high  ceiling  met  the  eye  as  one  gazed  along  the 
p!G>  139.  nave  of  the  hall-church. 

The  beauty  of  the  tri- 
forium,  the  beauty  of 
the  clerestory,  were 
wanting.  It  is  true 
that  the  piers  seemed 
like  branching  trees, 
forming  aloft  the  multi- 
ribbed  ceiling;  but 
this  compensated  but 
poorly  for  the  typical 
Gothic  nave  with  its 
threefold  division.  One 
almost  wishes  that  the 
nave-piers  might  be  re- 
moved and  pendant- 
vaulting be  left,  that 
the  vast  room  might  be  seen  without  obstruction.  Ger- 
mans in  the  later  period  of  Gothic  architecture  were  fond 
of  doing  the  unlooked-for,  of  effecting  great  surprises. 
They  made  tracery-work  which  seemed  but  the  twisting 
of  boughs,  and  even  carved  bark-knots,  which  are  formed 
where  boughs  have  been  wrenched  off.  They  often 
made  shafts  and  mullions  so  slender  that  one  feared  lest 
the  weight  they  carried  would  crush  them  down. 


Gothic  Style. 


273 


Fig.  190. 


§ The  Brick  Gothic  Church.  The  electorates,  and 
especially  the  leagues  which  were  formed  among  the  cit- 
ies and  principal- 
ities of  Germany, 
exerted  great 
influence  upon  the 
development  of 
Gothic  architec- 
ture. So  much  so, 
indeed,  that  there 
are  some  who  di- 
vide Germany  into 
districts,  and  find 
the  architecture, 
comprised  in  each, 
to  have  common 
characters.  North- 
ern Germany  is 
one  of  these  dis- 
tricts, and  there 
sprung  up  here  an 
architecture  built 
of  brick  and  with 
most  striking  orna- 
mentation. The  fagade  of  St.  Mary’s,  at  Brandenburg 
(Fig.  190),  will  exhibit  the  chief  peculiarities.  It  stands 
like  a great  screen  in  front  of  the  church.  This  screen 
is  perforated  with  pointed  portals  and  windows  and 
pointed  arcades.  Buttresses  divide  the  structure  into 
compartments.  Pinnacles  and  gables,  with  circular  win- 
dows below  them,  complete  the  upper  termination  of  the 
screen.  The  free  employment  of  geometrical  tracery  on 
the  surface  is  a departure  in  Gothic  ornamentation  in 
Germany.  Then  this  fagade  is  variegated  by  means 
of  different  colored  bricks,  principally  black  glazed 

18 


ST.  MARY’S,  AT  BRANDENBURG. 


274  Ecclesiastical  Architecture, 

bricks  on  a background  of  red.  Effects  are  in  this  way 
produced  similar  to  the  variegation  of  Italian  fagades, 
through  different  colored  marbles,  in  many  Romanesque 
churches.  Yet  some  of  these  brick  churches  are  con- 
structed with  simplest  ornamentation,  and  are  built  in 
a most  attractive  Gothic  style. 

§ German  Gothic  Cathedral.  The  most  perfect 
specimen  of  Gothic  architecture  is  the  Cathedral  of 
Cologne.  Its  foundation-stone  was  laid  in  1248;  its 
completion  was  accomplished  in  our  own  century.  One 
has  well  said  that  it  is  “ the  most  magnificent  and  stu- 
pendous edifice  ever  raised  by  human  hands  to  the  serv- 
ice of  the  Creator.”  The  plan  {vide  Fig.  127)  is  cruci- 
form within  and  without.  The  nave  has  double  side- 
aisles  ; the  transepts  and  the  choir  have  single  aisles, 
and  there  are  choir-chapels.  The  interior  is  421  feet  in 
length,  making  a splendid  vista  through  the  columns  of 
the  nave  and  choir.  The  breadth  is  140  feet;  the  tran- 
sept, 234  feet  long.  The  cathedral,  according  to  this 
plan  of  most  remarkable  dimensions,  rises  from  a plat- 
form 55  feet  above  the  Rhine,  and  is  the  purest  and 
noblest  example  of  perfected  Gothic  in  all  the  world. 
Other  cathedrals  are  composite,  furnishing  the  finest 
specimens  of  the  various  styles.  Cologne  Cathedral  re- 
ceived no  addition  conflicting  with  its  manifest  designs. 
Decade  after  decade  it  stood,  too  magnificent  in  its  de- 
mands for  the  generations  of  those  times  to  complete. 
They  beheld  an  incomplete  structure,  greater  unfinished 
than  it  could  be  made  with  their  means  and  capabilities. 
Three  centuries  it  remained  untouched  except  as  decay 
and  destruction  threatened  its  ruin.  But  our  century 
rescued  the  edifice.  The  liberality  of  Prussia’s  king,  the 
genius  of  her  architects,  completed  the  cathedral.  All 
that  is  noblest  in  Gothic  architecture  is  here  preserved. 


Gothic  Style, 


2*75 


Fig.  \9h 


CATHEDRAI,  OF  COLOGNE. 


276 


Ecclesiastical  Architecture. 


It  is  a Christian  church  full  of  majesty,  so  great  that, 
unfinished,  men  with  lesser  aims  than  its  originator 
dared  not  undertake  to  bring  so  colossal  an  enterprise 
to  completion  ; so  beautiful  in  its  promise  that  men 
dared  not  tear  it  down.  Germany,  possessing  this  per- 
fect Gothic  cathedral,  may  ever  claim  precedence  in  the 
Gothic  art  above  all  other  nations,  for  other  nations  have 
prophets  only  in  their  Gothic  edifices ; Germany  has  in 
the  Cologne  Cathedral  the  fulfillment. 

IV.  ELSEWHERE  IN  EUROPE. 

§The  Gothic  in  the  Netherlands.  Belgium  was 
fertile  soil  for  Gothic  architecture.  The  growing  wealth 
of  the  burgher  was  lavished  upon  civil  and  ecclesiastical 
Gothic  buildings.  France,  rather  than  Germany,  fur- 
nished the  types ; yet  the  remarkable  spire  of  the  Cathe- 
dral of  Antwerp  reminds  us  of  Germany  spires,  sur- 
passing them,  however,  in  gorgeous  ornamentation. 
Departures  on  the  part  of  the  Flemish  builders  from  ac- 
cepted types  were  often  most  audacious,  if  not  pleasing. 
The  seven  aisles,  counting  the  nave,  in  the  Antwerp 
Cathedral  is  an  attempt  to  astonish  by  the  breadth  of 
the  edifice,  and  this  feature  is  emphasized  by  the  narrow 
transept.  The  Cathedrals  of  Tournay,  Brussels,  and 
Malines  are  excellent  examples  of  pleasing  Gothic. 

§ The  Gothic  in  Spain  and  Portugal.  The  fall  of 
Cordova,  Seville,  and  Cadiz,  the  chief  seats  of  Moorish 
dominion  in  Spain,  extended  the  southern  boundaries  of 
the  kingdom  of  Castile  as  far  as  the  sea  coast.  Granada 
alone  was  a possession  of  the  Moors,  and  it  became  an 
ally  to  Castile.  These  conquests  of  the  Christians  were 
made  before  the  middle  of  the  thirteenth  century.  The 
wealth  of  these  Moors  was  expended  by  their  conquerors 
in  building  the  great  Gothic  cathedrals  of  that  age. 


Gothic  Style . 


277 


Gothic  and  Romanesque  features  were  intermixed  in  a 
few  churches.  But  imitation  of  French  models  soon 

effected  complete  freedom  _ Fig.  192. 

from  the  Romanesque  in- 
fluence, and  then  there 
arose  later  a beautiful 
Spanish  Gothic. 

§ French  Gothic  in 
Spain.  The  Cathedrals 
of  Burgos  and  Toledo 
were  nearly  contempo- 
rary, appearing  about 
1225.  Removing  the 
open  spires  of  Burgos, 
there  will  remain  a facade, 
which  clearly  was  in- 
spired by  the  Notre  Dame 
of  Paris.  Triple  perpen- 
dicular divisions,  which 
the  buttresses  effect,  and 
triple  horizontal  divi- 
sions, are  manifest  resem- 
blances. The  rose-win- 
dow, above  the  central 
portal,  is  another.  A sec- 
tion of  the  choir,  as  seen 
through  a nave-arch,  in 
the  Cathedral  of  Toledo 
(Fig.  192),  will  serve  to 
indicate  Spanish  fidelity 
to  the  structural  princi- 
ples of  the  Gothic,  when  cathedral  of  Toledo. 
they  were  merely  imitators.  The  pier  is  a central  col- 
umn, whereon  are  half-round  mouldings  with  capitals. 


2/8 


Ecclesiastical  Architecture. 


This  pier  was  common  in  early  Gothic.  Yet  there  is 
seen,  also,  the  clustered  pier.  The  tabernacle  work 
upon  the  sides  of  the  choir  near  its  entrance  makes  a 
very  pleasing  impression.  And,  without  doubt,  there  is 
as  great  propriety  in  placing  the  statues  of  saints  in 
tabernacles  near  to  the  altar  as  in  facades,  where  they 
are  exposed  to  the  inclemency  of  the  weather.  The 
Christians  inherited,  not  alone  wealth  from  the  over- 
thrown cities  of  the  Moors,  but  acquired,  through  Moor- 
ish architecture,  an  extravagant  taste  for  architectural 
adornments.  The  later  cathedrals  became  more  and 
more  loaded  down  with  Moorish  Gothic  ornamentation. 

§ Spanish  Gothic  Plans.  The  Cathedrals  of  Barce- 
lona and  Palma  (Fig.  193)  have  ground-plans  which  are 
most  instructive  in  regard  to  what  Spain  has  contributed 
to  Gothic  architecture.  The  Cathedral  of  Barcelona  is 
cruciform  within,  that  of  Palma  is  not;  the  one  has  a 
series  of  choir-chapels,  the  other  has  not.  There  are  in 
both  aisle-chapels.  The  originality  of  these  plans  may 
be  at  once  recognized  by  comparing  them  with  two  Ger- 
man cathedral  plans.  The  plans  of  the  Cathedrals  of 
Magdeburg  and  Barcelona  (vide  Fig.  186)  should  be 
compared  with  these.  If  we  remove  the  side-chapels 
of  the  aisles  from  the  plan  of  Barcelona,  there  will  re- 
sult a plan  essentially  like  that  of  Magdeburg.  There 
will  be,  in  both  choir-ehapels,  transepts  projecting  be- 
yond the  nave  with  its  aisles.  The  difference  in  both  is 
simply  in  the  ratio  of  the  aisles  to  the  nave.  A com- 
parison equally  instructive  is  furnished  between  the 
Cathedral  of  Palma  and  the  Church  at  Schlettstadt. 
Remove  all  the  side-chapels  of  the  Cathedral  of  Palma 
except  two  on  the  north  and  the  south  side,  there  re- 
sult two  plans  essentially  alike,  except  that  beauty  of 
proportion  is  with  the  Spanish  cathedral.  France  may 


Gothic  Style. 


279 


have  given  to  Spain  the  suggestion  of  these  side  aisle- 
chapels  ; it  is  certain  however  that  Spain,  through 
aisle-chapels,  made  harmony  of  proportions  in  her 
churches,  and  gave  her  cathedrals  a new  and  quite  orig- 
inal feature.  A consideration  of  the  Cathedral  of  Se- 
ville, built  in  1401,  wrill  further  confirm  this  observation. 
This  cathedral  is  of  colossal  size,  being  415  feet  long 


and  198  feet  wide.  The  plan  is  a single  rectangle.  The 
nave  is  56  feet  wide.  There  are  two  aisles  on  each  side 
of  the  nave,  and,  in  addition,  aisle-chapels.  The  many 
rows  of  uniform  piers,  diminishing  in  height  as  the 
side-chapels  are  brought  in  view,  awaken  a remarkable 
feeling  of  vastness. 


§ Gothic  Decoration  in  Spain.  L,ater  Gothic  in 
Spain  is  too  excessively  embellished.  It  could  not  have 


28o 


Ecclesiastical  Architecture. 


been  otherwise,  for  the  elaborate  decoration  of  Moorish 
architecture  incited  Christian  artists  equally  to  beautify 
Gothic  cathedrals.  Vaulting  ribs  were  made  to  form  al- 
most arabesques  upon  the  ceilings.  Broken  and  com- 
pound curves  were  wToven  together  above  doorways, 


Fig.  194. 


PORTAL  FROM  CLOISTER  CHURCH  AT  BATALHA. 


giving  decoration,  but  defying  all  principles  of  structure. 
Lines  were  looped  into  exquisite  shapes;  spiral  lines 
crept  along  the  round  mouldings ; curved  lines  made 
arabesque  bands  on  surfaces.  The  chisel,  not  the  brush, 
effected  these  artistic  designs.  Portugal  was  late  in  in- 
troducing the  Gothic  architecture.  Hence  the  portal, 
connected  with  the  cloister  church  at  Batalha  (Fig.  194), 
will  show  all  that  fanciful  luxuriance  which  Spanish 


Gothic  Style . 


281 


Gothic,  as  influenced  by  the  Moors,  presents  in  the 
cathedrals  of  Spanish  cities.  The  portal  is  recessed,  and 
the  archivolts  are  a species  of  the  multiple  .arch.  The 
outer  archivolt  is  curiously  compounded  of  two  multiple 
curves,  interlacing  with  each  other,  and  minute,  richly- 
varied  carving  adorn  all  the  portal.  It  all  is  bizarre,  but 
beautiful  in  each  detail,  a luxuriance  that  satiates  as  soon 
as  it  pleases. 

§ Gothic  Architecture  in  Italy.  Rome,  on  her  seven 
hills,  was  not  friendly  to  the  new  style  of  architecture. 
The  Roman  pontiff  listened  to  descriptions  of  wonder- 
ful transalpine  cathedrals,  which  seemed  more  the  work 
of  genii  than  of  men.  He  also  heard  of  the  decline  of 
his  authority  beyond  the  Alps ; of  kings,  who  no  more 
trembled  before  the  terror  in  papal  bulls;  of  princes, 
who  chose  the  State  for  the  final  authority  rather  than 
the  Church ; of  prelates,  whose  princely  estates  rested 
upon  the  breath  of  civil  rulers.  All  these  changes  had 
taken  place  in  the  period  when  Gothic  architecture  was 
developed.  Hence,  the  pontiff  at  Rome  was  no  friend 
to  the  new  architectural  style.  The  great  cities  of  Italy 
slowly  adopted  the  Gothic,  yet  they  built  some  imposing 
Gothic  cathedrals.  St.  Petronius  was  planned  to  be  the 
largest  of  Gothic  edifices,  but  it  was  never  completed. 
The  dimensions  of  the  ground-plan  of  the  Cathedral  of 
Milan  are  greater  than  those  of  any  European  Gothic 
church  except  the  Cathedral  of  Seville.  Nevertheless, 
Italian  Gothic  is  practically  a Romanesque  structure 
with  Gothic  features  as  ornamentation. 

§ The  Italian  Gothic  Cathedral.  The  interior  is 
distinguished  from  transalpine  Gothic  by  a greater  dis- 
tance between  the  piers  and  by  a wider  nave.  A pier- 
column,  rather  than  a moulded  or  clustered  pier,  was 


282 


Ecclesiastical  Architecture. 


employed.  The  profile  of  the  transverse  arch  was  flat. 
The  nave-arch  was  often  so  high,  and  the  arches  of  the 
vaulting  sprung  from  a point  so  low  on  the  nave-wall, 
that  the  clerestory  was  simply  a row  of  insignificant  cir- 
cular windows. 
Not  buttresses, 
which  framed  win- 
dows, but  walls, 
which  were  pierced 
with  openings,  in- 
closed the  church. 
These  were  all 
Romanesque  fea- 
tures ; but  the  arch- 
es  and  the  win- 
dow-apertures 
were  pointed.  The 
Cathedral  of  Si- 
enna (Fig.  195) 
will  make  clear 
how  Italian  Gothic 
is  scarcely  more 
than  a Roman- 
esque building, 
adorned  with 
Gothic  trimmings.  The  portals  have  Romanesque  round 
arches,  but  pointed  gables  are  placed  above  them.  The 
finial  upon  this  pointed  gable  is  a statue.  Corner-but- 
tresses are  completed  as  towers,  and  the  central  upper 
gable  is  supported  by  two  small  and  slender  turrets. 
Horizontal  features  are  prominent.  The  campanile  is 
wholly  Romanesque,  even  so  far  as  its  position  is  con- 
cerned. The  charm  of  Italian  Gothic  is  not  in  the  or- 
ganic relationship  of  every  part,  nor  in  the  profound 
knowledge  of  static  laws,  which  the  construction  of  the 


Fig.  195. 


CATHEDRAI,  OF  SIENNA. 


Gothic  Style . 


283 


edifice  demanded ; nor  in  the  beauty  of  the  ascent  in  the 
nave  from  the  foot,  of  the  moulded  pier  to  the  keystone 
in  the  ceiling ; nor  in  the  wonderful  strength  and  deli- 
cate grace  of  the  high  spires.  This  is  the  charm  of 
transalpine  Gothic.  Italian  Gothic  pleases  by  its  ampli- 
tude of  nave  and  aisles ; by  massive  piers  adorned  with 
colored  marbles;  by  its  carvings,  and,  above  all,  by  the 
great  vaults  over  the  nave-bays. 


Fig.  196. 

IWinnm  in- 1, .g|j|||inii,iiiil|mj|iiiii.l.ni,.ir. 


§ Italian  Gothic  Window- 
gable.  The  Gothic  window  in 
Italy  is  a pointed  opening  in  the 
wall;  not,  as  in  German  Gothic, 
the  space  between  two  buttresses, 
which  is  filled  in  with  the  pointed 
arch  and  window-tracery.  The 
Gothic  window  (Fig.  196)  is 
taken  from  the  Cathedral  of  Flor- 
ence. It  is  built  within  a frame, 
the  lower  stage  of  which  is  a 
twisted  column,  and  the  upper  is 
a buttress  only  in  appearance. 

The  window  has  above  it  a crock- 
eted  gable,  but  the  point  of  the 
angle  is  lopped  off  in  order  to 
make  a support  for  the  pedestal 
of  a statue.  Every  Gothic  fea- 
ture here  is  reduced  to  mere  orna- 
ment. The  wealth  of  sculpture 
and  the  beautiful  wall-paneling 
attract  the  eye  of  one  who  is 
more  pleased  with  trimmings 
than  with  the  structural  elements  of  a Gothic  building, 
even  though  these  be  transformed  into  most  remarkable 
beauty  by  the  genius  of  the  artist, 


GABEE  FROM  CATHEDRAE 
OF  FLORENCE. 


284 


Ecclesiastical  Architecture. 


§The  Close  of  the  Middle  Ages.  Two  great  pur- 
poses actuated  the  Christian  Church  of  Rome  at  the  be- 
ginning of  the  eleventh  century : the  first  was  to  extend 
the  Christian  faith  among  the  barbarians  of  the  West; 
the  second  was  to  establish  the  Roman  patriarchate  as 
a pontificate.  Both  purposes  were  accomplished.  Apart 
from  those  mighty  and  terrible  contentions,  which  ulti- 
mately co-ordinated  the  ruling  powers  and  formed  the 
modern  nations,  there  was  almost  internecine  strife  be- 
tween the  papacy  and  the  ordained  powers  of  the  State. 
The  outcome  was,  practicably,  civil  sovereignty  in  the 
State,  and  ecclesiastical  sovereignty  in  the  Church.  Two 
great  styles  of  architecture  arose  during  the  Middle 
Ages : the  Romanesque,  a style  developed  by  the  priest- 
hood ; the  Cxothic,  a style  originated  by  the  people.  The 
edifices  of  both  styles,  as  we  have  seen,  are  replete  with 
evidences  of  the  Christian  creed,  for  our  Scriptures  and 
our  doctrines  could  be  reproduced  from  their  sculptured 
forms  and  their  stained-glass  windows.  These  edifices 
also  exhibit,  through  their  statuary,  the  great  Christian 
virtues  and  the  fioble  Christian  saints,  both  men  and 
women,  who  blessed  the  world  with  holy  lives.  Much 
else  is  in  them,  such  as  evidences  of  the  pomp  and  van- 
ites  of  popes  and  kings,  of  bishops  and  princes.  These 
great  cathedrals  abide  with  us.  “ Their  builders  have 
taken  with  them  to  the  grave  their  power#  their  honors, 
and  theiT  errors  ; but  they  have  left  us  their  adoration.” 


Table  of  Gothic  Churches* 


I.  IN  FRANCE. 


PLACE. 

EDIFICE. 

PART. 

CENTURY. 

Amiens. 

Cathedral. 

All. 

XIII. 

Angiers. 

Cathedral. 

Choir. 

XIII. 

Bordeaux. 

Cathedral. 

All. 

XIII. 

Coutances. 

Cathedral. 

All. 

XIII. 

Dijon. 

Cathedral. 

All. 

XIII. 

Noyon. 

Cathedral. 

Vaults. 

XIII. 

Paris. 

Notre  Dame. 

West  Front. 

XIII. 

Paris. 

Sainte  Chapelle. 

Most  all. 

XIII. 

Rouen 

Cathedral. 

Transepts  and  Portal. 

XIII. 

Senlis. 

Cathedral. 

Transepts. 

XIII. 

Alby. 

Cathedral. 

Nave. 

XIV. 

Bayonne. 

Cathedral. 

Nave  and  Vaults. 

XIV. 

Lyons. 

Cathedral. 

Nave. 

XIV. 

Montpellier. 

Cathedral. 

All. 

XIV. 

Rheims. 

Cathedral. 

West  Front. 

XIV. 

Sens. 

Cathedral. 

West  Front. 

XIV. 

Soissons. 

Cathedral. 

North  Chapels. 

XIV. 

Tours. 

Cathedral. 

Transepts  & Portals. 

XIV. 

Caen. 

St.  Nicholas. 

Vaults. 

XV. 

Evreux. 

Cathedral. 

Central  Tower. 

XV. 

Nevres. 

Church. 

South  Portal. 

XV. 

Paris. 

St.  Germain. 

All. 

XV. 

Troyes. 

Cathedral. 

Nave  & Central  Tower. 

XV. 

Laval. 

Church. 

Choir. 

XVI. 

Rouen. 

St.  Macloii. 

XVI. 

II.  IN  ENGLAND. 

Canterbury. 

Cathedral. 

Nave. 

XIII. 

Chichester. 

Cathedral. 

All. 

XIII. 

Durham. 

Cathedral. 

Niue  Altars. 

XIII. 

Ely. 

Cathedral. 

Choir. 

XIII. 

Glasgow. 

Cathedral. 

All. 

XIII. 

Lichfield. 

Cathedral. 

West  Front. 

XIII. 

Lincoln. 

Cathedral. 

Vault. 

XIII. 

Peterborough. 

Cathedral. 

West  Front. 

XIII. 

Ripon. 

Cathedral. 

Most. 

XIII. 

Rochester. 

Cathedral. 

All 

XIII. 

Salisbury.  * 

Cathedral. 

Most. 

XIII. 

Wells. 

Cathedral. 

Most. 

XIII. 

Westminster. 

Cathedral. 

Most. 

XIII. 

York. 

Cathedral. 

Nave  & S.  Transepts. 

XIII. 

Edington. 

Church. 

All. 

XIV. 

Ely. 

Cathedral. 

Lady  Chapel. 

XIV. 

Exeter. 

Cathedral. 

Nave. 

XIV. 

* Melrose. 

Abbey. 

All. 

XIV. 

Winchester. 

Cathedral. 

Nave  and  Aisles. 

XIV. 

York. 

Cathedral. 

Lady  Chapel. 

XIV. 

Cambridge. 

King’s  Chapel. 

All. 

XV. 

285 


286 


Ecclesiastical  Architecture. 


II.  IN  ENGLAND.-Continued. 


PLACE. 

EDIFICE. 

PART. 

CENTURY. 

Edinburgh. 

Roslyn  Chapel. 

All. 

XV. 

Gloucester. 

Cathedral. 

Lady  Chapel. 

XV. 

Manchester. 

Cathedral. 

All. 

XV. 

Stratford-on-Avon. 

St.  Mary’s  Chapel. 

All. 

XV. 

Warwick. 

Beauchamp  Chapel . 

All. 

XV. 

Windsor. 

St.  George’s  Chapel 

All. 

XV. 

Westminster. 

Henry  VII’s  Chapel 

All. 

XVI. 

III.  IN  GERMANY. 

Altenberg. 

Cathedral. 

Choir. 

XIII. 

Cologne. 

Cathedral. 

Choir. 

XIII. 

Cologne. 

St.  Gereon. 

Choir. 

XIII. 

Freiberg. 

Cathedral. 

Most. 

XIII. 

Halberstadt. 

Cathedral. 

Nave. 

XIII. 

Liibeck. 

St.  Mary’s. 

All. 

XIII. 

Marburg. 

St.  Klizabeth’s. 

All. 

XIII. 

Nuremberg. 

St.  Lawrence. 

Most. 

XIII. 

Meissen. 

Cathedral. 

Choir. 

XIII. 

Strasburg. 

Cathedral. 

Facade. 

XIII. 

Augsburg. 

Cathedral. 

All. 

XIV. 

Cologne. 

Cathedral. 

Nave. 

XIV. 

Freiberg. 

Cathedral. 

Choir. 

XIV. 

Halberstadt. 

Cathedral. 

Choir. 

XIV. 

Kuttenberg. 

St.  Barbara. 

Most 

XIV. 

Prentzlau. 

St.  Mary’s. 

All. 

XIV. 

Metz. 

Cathedral. 

Rebuilt. 

XIV. 

Schlettstadt. 

Cathedral. 

All. 

XIV. 

Thatin. 

Church. 

All. 

XIV. 

Ulm. 

Cathedral. 

All. 

XIV. 

Vienna. 

St.  Stephen’s. 

All. 

XIV. 

Berne. 

Cathedral. 

All. 

XV. 

Munich, 

Our  Lady  Church. 

All. 

XV. 

Nuremberg. 

St.  Lawrence. 

All. 

XV. 

Osnabriick. 

Cathedral. 

Choir. 

XV. 

Stendal. 

St.  Mary’s. 

All. 

XV. 

Ulm. 

Cathedral. 

Vaulting  of  Nave. 

XV. 

IV.  ELSEWHERE  IN  EUROPE. 

A.  NETHERLANDS. 

Brussels. 

Cathedral. 

All. 

XIII. 

Bruges. 

N.  D. 

All. 

XIII. 

Tongres. 

N.  D. 

All. 

XIII. 

Utrecht. 

Cathedral. 

All. 

XIII. 

Antwerp. 

Cathedral. 

All. 

XIV. 

Malines. 

St.  Rotnbaut. 

All. 

XIV. 

Antwerp. 

St.  Jacque. 

All. 

XV. 

Ghent. 

Cathedral. 

Tower. 

XV. 

Utrecht. 

St.  Catherine. 

All. 

XV. 

B.  SPAIN. 

Burgos. 

Cathedral. 

Most. 

XIII. 

Leon. 

Cathedral. 

Most. 

XIII. 

Tarragona. 

Cathedral. 

All. 

XIII. 

Toledo. 

Cathedral. 

Most. 

XIII. 

Valencia. 

Cathedral. 

Most. 

XIII. 

Gothic  Style. 


287 


B.  SPAIN.— Continued. 


PLACE. 

EDIFICE. 

PART. 

CENTURY. 

Burgos. 

Cathedral. 

Chapels. 

XIV. 

Oviedo. 

Cathedral. 

All. 

XIV, 

Toledo. 

Cathedral. 

Chapels. 

XIV  & XV. 

Astorga. 

Cathedral. 

All. 

XV. 

Salamanca. 

Cathedral. 

All. 

XV. 

Seville. 

Cathedral. 

All. 

XV. 

Barcelona 

Cathedral. 

Facade. 

XVI. 

C.  ITALY. 

Orvieto. 

Cathedral. 

All. 

XIII. 

Sienna. 

Cathedral 

All. 

XIII. 

Genoa. 

Cathedral. 

All. 

XIV. 

Florence. 

Cathedral. 

Campanile. 

XIV. 

Florence. 

St.  Michele. 

All. 

XIV. 

Milan. 

Cathedral. 

All. 

XIV. 

Perugia. 

Cathedral. 

All. 

XV. 

Milan. 

S.  M.  delle  Grazie. 

All. 

XV. 

N.  B. — 1.  The  dates  in  the  t ible  are  approximately  correct,  and  will  indicate 
the  period  in  which  the  great  cathedrals  appeared. 

2.  The  parts  of  an  edifice  referred  to  in  the  columns  are  those  most 
conspicuous  as  illustrations. 

3 The  classification  according  to  countries  will  show  the  relative 
degree  of  enthusiasm  for  the  Gothic  art. 


Chapter  VIII 

ELEMENTS  OF  MEDIAEVAL  CHURCH  ARCHITECTURE, 
CHRONOLOGICALLY  ARRANGED, 

§ Mediaeval  Church  Architecture.  Because  mediaeval 
ecclesiastical  architects  appropriated  all  the  great  feat- 
ures of  the  Byzantine  and  Basilican  styles,  some  forms, 
which  are  prior  to  the  eleventh  century,  are  found  in 
mediaeval  structures.  These  early  forms  are  referred  to 
as  belonging  to  the  times  in  which  they  appeared,  and 
so  are  classed  in  centuries  not  belonging  to  the  Middle 
Ages.  There  should  be  found  great  utility  and  profit 
in  viewing  the  elements  of  ecclesiastical  architecture 
under  a chronological  arrangement,  since  thereby  the 
slow  progress  in  advancement  may  be  seen,  as  well  as 
those  suggestions  in  early  forms,  out  of  which  were  de- 
veloped the  most  remarkable  and  beautiful  types  of 
later  times. 

I.  DEVELOPMENT  OF  THE  PIER. 

§The  Pier  and  Its  Modifications.  The  huge,  tall, 
and  square  pier  (Fig.  197,  1)  is  Byzantine,  fitted  to  sus- 
tain the  weight  of  those  mighty  arches  which  support 
the  Byzantine  dome.  These  piers  appeared  before  the 
tenth  century.  Early  Norman  structures  of  the  eleventh 
century  have  a short,  thick,  and  round  pier  (^),  with  a 
capital  which  seems  composed  of  several  smaller  ones. 
The  round  surface  of  the  pier  often  had  rich  carvings. 
Eater  in  this  century,  when  the  cross-vault  was  used  for 
ceilings,  the  transverse  and  longitudinal  arches  were 
represented  on  this  short,  solid  pier  by  massive  mould- 
ings (j),  resembling  half-columns.  After  the  introduc- 
288 


Its  Essential  Elements 


289 


tion  of  the  ribbed  vault,  at  the  close  of  the  eleventh  cen- 
tury, mouldings  ( 4 ) were  placed  on  this  short,  thick 
pier,  representing  the  transverse,  longitudinal,  and  diag- 
onal ribs.  The  tall,  slender  pier  is  a product  of  the 
twelfth  century.  One  form  is  a column-pier  (5),  having 
the  many  archivolt  mouldings  resting  on  its  summit. 
Another  form  is  a cluster  of  four  columns  (<5),  from 
whose  capitals  the  great  vaulting-ribs  ascended.  In  the 


Fig.  197. 


PIER  VARIATIONS. 


thirteenth  and  fourteenth  centuries,  in  which  appeared 
the  pointed  groined  vaults*  there  are  two  forms  of  the 
clustered  pier:  one  (7)  has  four  principal  mouldings, 
with  intermediate  ones,  corresponding  to  the  arches  and 
ribs  of  the  vaulting;  the  other  form  (S)  has  a round, 
central  mass,  with  four  half-round  columns  upon  it, 
answering  to  the  longitudinal  and  transverse  arches. 
The  fifteenth  century  column  (p)  seems  a cluster  of 
many  rods,  starting  from  the  ground,  and  they  bend 
into  arches  or  ribs  without  the  intervention  of  capitals. 


290 


Ecclesiastical  Architecture. 


Fig.  198. 


II.  DEVELOPMENT  OF  THE  NAVE=BAYS. 
§Nave=bays  of  the  Eleventh  and  Twelfth  Centuries. 

The  Basilican  nave-bay  was  tripartite,  composed  of  the 

space  between  two  eol- 
umns,  the  unbroken 
wall-space  above  them, 
and  the  clerestory, 
which  was  perforated 
by  a small  window. 
The  bay  of  the  Roman- 
esque style  (Fig.  198,  a) 
is  different  only  by  the 
piercing  of  the  un- 
broken wall  with  an 
arcade.  This  portion 
became  the  gallery. 
Heavy  mouldings  from 
the  piers  separated  the 
gallery-arcade  into  sec- 
tions. A bay  of  the 
transitional  style  (< b ) 
shows  a mode  of  con- 
struction which  is  By- 
zantine. The  piers  are 
built  up  to  the  clere- 
story; arches,  trans- 
verse and  longitudinal, 
are  sprung  from  their 
summit  for  the  vault- 
ing. The  space  be- 
tween the  piers  was 
filled  in  to  make  gallery  and  clerestory.  Both  methods, 
that  of  the  Basilican  and  that  of  the  Byzantine,  are  em- 
ployed in  the  Romanesque  bay.  The  tendency  to  more 
slender,  graceful,  and  ornamental  forms,  emphasizing 


ROMANESQUE  NAVE-BAYS. 


Its  Essential  Elements. 


291 


the  idea  of  altitude  and  beauty,  is  traceable  in  these  cen- 
turies. Yet  there  are  no  examples  produced  under  this 
tendency,  which  can  surpass  in  impressiveness  the  Eng- 
lish Norman  bay,  with  its  low,  huge,  round  columns 
and  heavy  arch  below,  and  the  massive  columns  and 
arches  of  the  gallery  above ; for  they  are  safe  supports, 
adorned  with  most  striking  beauty  because  of  their 
strength.  The  sturdy  strength  of  this  Norman  bay  in 
England  always  seems  consonant  with  English  genius. 
Yet  the  decorated  bay  of  the  Romanesque  style,  in 
which  the  high,  slender  column  is  employed,  becomes, 
under  the  hand  of  the  English  architect,  scarcely  in- 
ferior to  the  Gothic  bay. 

§ Nave=bays  of  the  Thirteenth,  Fourteenth,  and 
Fifteenth  Centuries.  The  thirteenth  century  accepted 
the  two  modes  of  construction  made  familiar  through 
the  Romanesque  style,  for  some  Gothic  bays  seem  but 
parts  of  a massive  wall,  built  upon  piers  and  arches,  and 
perforated  with  Gothic  openings,  in  order  to  make  the 
triforium  and  clerestory,  while  other  Gothic  bays  seem 
but  the  filling-in  between  lofty  piers.  The  types  of 
Basilican  and  Byzantine  nave-walls  are  perpetuated  in 
Gothic  architecture.  The  Gothic  bay,  with  clustered 
column  (Fig.  199,  a)  is  simply  the  space  between  two 
lofty  piers,  filled  with  the  forms  of  Gothic  architecture. 
The  nave-arch  is  pointed ; the  triforium-space,  formerly 
the  gallery-space,  has  a pointed  arcade;  the  clerestory 
has  the  pointed  windows.  The  Gothic  bay,  between 
lofty  columns  (£),  supporting,  through  the  medium  of 
the  pointed  arch,  the  nave-wall,  is  the  Basilican  mode 
of  construction.  The  wall  above  the  nave-columns  is 
pierced  by  a pointed  arcade,  forming  the  triforium ; 
above  it  is  the  clerestory.  The  bay  of  the  perfected 
Gothic,  with  triforium  transparent  (c),  belongs  to  the 


EC  CLESIASTICA  L ARCHITECTURE. 


292 

fourteenth  century.  The  expression  of  organic  unity  is 
most  completely  attained  in  this  bay,  for  the  piers  branch 


Fig.  199. 


a.  b.  c. 

GOTHIC  NAVE-BAYS. 


and  form  all  the  arches  of  the  bay.  Then  the  triforium 
and  clerestory  make  one  magnificent  aperture,  beauti- 
fully divided,  through  which  light  pours  in,  flooding 
with  its  brightness  the  Gothic  nave. 


Its  Essential  Elements. 


293 


III.  DEVELOPMENT  OF  THE  VAULTED  CEILING. 

§ Vaultings  of  the  Eleventh,  Twelfth,  and  Thir= 
teenth  Centuries.  The  cross-vault  (Fig.  200)  was  used 


Fig.  200. 


in  the  tenth  century  and 
earlier  for  the  crypt.  But 
in  the  eleventh  century  it 
was  employed  over  the  nar- 
row aisles.  The  surface  of 
this  vault  was  left  plain. 

The  twelfth  century  wit- 
nessed the  introduction  of 
the  groined  vault  with  the 
round  arch  (Fig.  201,  a). 

A framework  was  made  by 
means  of  diagonal  ribs ; the 
vault  was  the  filling-in  of 
this  skeleton.  The  arches  and  ribs  of  the  vault  received 
prominent  round  mouldings.  The  groined  vault  with  the 


cross-vault. 


Fig.  201. 


a.  ROUND  ARCHED  VAULT.  b.  POINTED  ARCHED  VAULT. 


pointed  arch  (Fig.  201,  b ) was  characteristic  of  the  vault- 
ing in  the  thirteenth  century.  This  vault  had  greater 
height,  and  the  arches  and  mouldings  were  more  graceful. 


294 


Ecclesiastical  Architecture . 


§ Vaultings  of  the  Fourteenth,  Fifteenth,  and  Six- 
teenth Centuries.  These  vaults  had  the  common  prop- 
Fig.  202.  erty  of  being  groined  vaults 

with  the  pointed  arch.  The 
vault  of  the  fourteenth  cen- 
tury (Fig.  202)  had  diagonal 
ribs  with  a keystone  at  their 
crossing.  The  mouldings 
were  more  elaborate  and  del- 
icate. The  multi-ribbed 
vault  (Fig.  203,  a)  was  the 
favorite  vault  of  the  fifteenth 
century.  The  junctions  of 
the  ribs  with  the  ridge  were 
marked  by  bosses,  and  minor 
ribs  were  inserted,  forming, 
in  the  crest  of  the  vault,  cer- 
tain shapes  which  have  been 


Fig.  203. 


a.  VAULT  WITH  LlERNES.  b.  DECORATED  VAULT. 


Its  Essential  Elements. 


295 


named  liernes.  The  net- vault  and  the  fan-vault  are  va- 
rieties of  the  multi-ribbed  vault.  The  vaulting  of  the 
sixteenth  century  (Fig.  203,  b)  was  excessively  orna- 
mented. Pendants  fell  from  the  junction  of  ribs;  scrolls, 
leaves,  or  any  artistic  design  which  could  be  added  to 
the  face  of  the  ribs,  were  employed.  The  vault  was  no 
longer  an  object  of  admiration  because  of  its  structure. 
The  multiplicity  of  its  decorative  details  alone  allured 
the  curious  eye. 

IV.  DEVELOPMENT  OF  DECORATIVE  FORMS. 

§ Decorative  Details  of  the  Tenth  Century.  The 

ornamentation  of  the  tenth  century  was  simple  and 

Fig.  204. 


BASILICAN  DECORATIONS. 


largely  symbolical.  The  palm-leaf,  instead  of  the  acan- 
thus, was  at  the  corners  of  the  capitals,  and  between 
the  palm-leaves  the  scallop-shell  was  sculptured,  sign  of 
the  Holy  L,and.  The  vine  (Fig.  204,  ^,5)  was  carved  into 
archivolts;  also  the  dove  (<5,  8),  and  the  cross  (<?),  and 


296  Ecclesiastical  Architecture. 

the  nail-head  (j).  Serious  thought,  rather  than  artistic 
skill,  characterized  this  ornamentation. 

§ Geometrical  Designs  of  the  Eleventh  and  Twelfth 
Centuries.  Cisalpine  or  Italian  Romanesque  was  un- 
der the  influence  of  classical  traditions  in  the  decora- 
tion of  arched  and  flat  surfaces,  while  transalpine  or 


Fig.  205. 


ROMANESQUE  GEOMETRICAL  DECORATIONS. 


Gallic  Romanesque  developed  an  independent  and  most 
striking  .style  of  ornamentation.  This  Italian  style  (Fig. 
205)  consisted  of  exquisite  combinations  of  geometrical 
designs.  The  sections  of  archivolts  finely  exhibit  ex- 
amples of  the  dentate  ornament,  the  inverted  heart  or- 
nament, and  the  vine-scroll.  Many  of  these  geometrical 
forms  are  made  by  the  bending  of  leaves  and  their 
stems;  yet  not  such  leaves  as  grow,  but  such  as  artists 
take  liberty  to  create  for  decorative  purposes.  A pecul- 
iarity of  this  Italian  decoration  is  seen  in  the  animal 


Its  Essential  Elements. 


297 


forms  introduced  in  the  capitals,  and  often  one  fancies 
that  the  windings  of  the  curved  lines  in  the  outer  bor- 
ders of  arches  cease  to  make  geometrical  designs  in  or- 
der to  make  animal  shapes. 


§ Lineal  Designs  of  the  Eleventh  and  Twelfth  Cen= 
turies.  The  Norman  or  transalpine  ornamental  forms 

Fig.  206. 


ROMANESQUE  EINEAE  DECORATIONS. 


present  a marked  contrast  to  those  of  the  Italian  Ro- 
manesque. The  straight,  not  the  curved  line  predomi- 
nated in  Norman  ornamentation.  Cornices  and  horizon- 
tal mouldings  had  the  star-ornament  (Fig.  206,  z , 2 ),  the 
block  and  arch  combined  (j,)  the  rope  (5),  the  chain, 
zig-zag,  fret,  and  chess-board  (5,  10,  iz,  12 , zy).  The 
archivolts  had  the  billet  (4),  the  prism  (<5),  the  zigzag 
and  the  fret  (zz,  p).  These  rectilinear  forms  were  cut 


298 


Ecclesiastical  Architecture. 


clearly  upon  the  surfaces  of  cornice  and  archivolts,  and 
their  sharp  lines  gave  clear  contrasts  of  light  and  shade 
to  these  ornamented  portions. 


§ Foliage  Designs  of  the  Thirteenth  Century.  The 

Gothic  style  introduced  designs  which  were  modifica- 
tions of  nature’s  forms.  The  quatrefoil  and 
trefoil  figures  (Fig.  207,  2 , 4)  are  made  with 
circular  leaves;  but  other  foliated  figures 


Fig.  207. 


EARLY  GOTHIC  FOLIAGE  DESIGNS. 


(j,  5>  d)  were  made  with  pointed  leaves.  Floral  forms 
are  found  in  bosses  (7,  <?),  some  having  pointed  petals, 
others  having  round  ones.  The  bud  capitals  (iS)  were 
adopted,  and  arches  often  had  budding  shoots  (1 2,  13) 


Its  Essential  Elements \ 


299 


on  the  inner  curve.  The  horizontal  mouldings  (zo,  zz) 
also  were  adorned  with  a kind  of  bud-ornament. 


Fig.  208. 


§ Ornamental  Foliage  of  the  Fourteenth  Century. 

As  compared  with  the  preceding  century,  the  four- 
teenth century  employs  fewer  decorative  forms,  but 
these  are  given  simple,  bold,  and  beautiful  outline. 
The  foliated  figures  (Fig.  208,  24 , 25)  were  embel- 
lished within  by  ornamental  crosses,  and  without  by 
the  encompassing 
circle.  A trian- 
gular hood,  with 
crockets  C?<5),  was 
added  to  the  win- 
dows.  These 
crockets  received 
a development 
which  gave  them 
less  the  appear- 
ance of  buds  and 
more  the  form  of 
gracefully  curved  perfected  gothic  foliage  forms. 

leaves.  The  capitals  of  columns  (29)  show  a tendency 
to  abandon  the  bud  idea,  and  to  substitute  in  its  stead 
the  leaf. 


§ Ornamental  Forms  of  the  Fifteenth  Century. 

An  affection  for  Gothic  ornamental  forms  prevails.  Their 
number  is  increased  by  modifications.  Hence  designs 
are  more  complex.  The  laws  of  moderation  and  sim- 
plicity were  abandoned.  Decoration  became  redundant. 
A pointed  quatrefoil  (Fig.  209,  30)  appears.  Frieze  has 
the  leaf  (yz,  32)  as  the  decorative  element,  and  leaf- 
forms  are  made  most  prominent  in  the  crockets  ( 33 ). 
Cusps  ( 36 , 3j)  beautify  the  inner  curve  of  pointed 


300 


Ecclesiastical  Architecture . 


arches,  and  the  increased  favor  of  crockets  is  apparent 
in  their  use  on  the  finials.  Panels  and  windows  show 
a preference  for  a perpendicular  tracery  (j<5).  The 
love  for  excessive  decoration  is  most  evident.  How- 


Fig.  209. 


ever,  nature  is  the  great  teacher  of  the  artist.  Her 
forms  are  more  closely  imitated,  and  employed  with  a 
lavish  hand. 

§ Decorative  Details  of  the  Sixteenth  Century. 

Ornamental  designs  are  no  longer  foliated  forms  and 
arcades  with  pointed  arches.  A return  is  made  to 
the  ornamental  forms  which  classical  remains  make 
familiar.  Now  the  mineral,  rather  than  the  plant  world, 
give  the  types,  or  else  the  shapes  are  taken  from  the 
artist’s  own  fancies.  The  diamond  (Fig.  210,  43), 
the  circle  inclosing  a medallion  (//),  the  rosette  C/o), 


Its  Essential  Elements. 


3°  i 


the  festoon  and  scroll  42) , are  restored.  The  but- 
tress C/5)  also  assumes  a new  character,  since  it  is  not 
terminated  by  the 
Gothic  finial,  nor 
does  it  narrow 
from  base  to  sum- 
mit as  heretofore. 

The  ornamenta- 
tion of  this  cen- 
tury is  transitional 
to  the  mode  of 
decoration  be- 
longing to  the  Re- 
naissance  style, 
wherein  are  ut- 
terly discarded 
the  noble  types 
which  the  Ro- 
manesque and  the 
Gothic  styles  fur- 
nished. The  infidels  to  the  Gothic  art  first  changed 
its  mode  of  decoration,  then  assailed  its  principles  of 
structure. 

V.  DEVELOPMENT  OF  THE  CORNICE,  BALUSTRADE, 
AND  PARAPET. 

§ Cornice  from  the  Sixth  to  the  Twelfth  Century. 

The  facade  in  classical  architecture  culminated  in  a mag- 
nificent and  far-projecting  cornice.  Christian  architec- 
ture reduced  the  cornice  to  a most  insignificant  member 
of  the  facade.  The  antipathy  to  anything  obtrusively 
pagan  determined  this  minifying  of  the  cornice.  Be- 
fore the  eleventh  century  cornices  (Fig.  211)  were  sup- 
ported by  projections,  to  all  appearances,  the  ends  of 
beams,  and  had  little  beauty.  They  were  given  the 


Fig.  210. 


GEOMETRICAL  DESIGNS  OF  DATE  GOTHIC. 


302 


Ecclesiastical  Architecture * 


form  of  triangular  blocks  (/),  or  of  beam-ends  with  faces 
cut  in  them  (2).  The  eleventh  century  followed  the 
earlier  forms  of  the  cornice  (j),  and  sometimes  intro- 

Fig.  211. 


CORNICES  OF  THE  BASILICAN  STYLE. 


duced  an  arcade  (4)  between  the  crown-moulding  and 
the  supporting  brackets. 


§ Cornice  During  the  Twelfth  and  Thirteenth  Cen- 
turies. The  Romanesque  style  of  the  twelfth  century 


Fig.  212. 

3 


retained  the  cornice  with 
the  arcade  (Fig.  212,  5,  d), 
which  had  been  invented  in 
the  preceding  century.  But 
the  transitional  style  of  the 
thirteenth  century  made 
modifications.  The  round 
arch  gave  place  to  the  pointed 
(9).  Also,  new  forms  (7,  8) 
were  employed,  reminding  of 
the  cornices  of  the  eleventh 


century,  in  which  the  beam- 
end  was  prominent.  The  ar- 
cade in  the  cornice  was  aban- 
doned, and  instead,  there  ap 
Romanesque  cornices.  peared  an  ornament  resem- 
bling the  teeth  of  a saw  (7,  8 , 9).  The  evident  inten- 
tion was  still  to  keep  the  cornice  unobtrusive. 


vwvwwvW^i 


Its  Essential  Elements.  303 

§ Balustrades  of  the  Thirteenth  and  Fourteenth 
Centuries.  Christian  architecture  avoided  arresting  the 
eye  by  the  prominent  projection  of  the  cornice.  The 
eye  was  permitted  to  pass  from  the  edifice,  with  but 
little  obstruction,  into  the  sky.  But  when  finials  were 
set  above  the  eaves,  there  was  need  of  some  appropriate 
termination  to  unite  them  harmoniously  together.  The 

Fig.  213. 


// 


GOTHIC  balustrade;  and  parapet. 


balustrade  answered  this  purpose.  It  is  a perpendicular 
termination,  not  a horizontal  one.  The  advance  in 
beauty  and  grace  of  balustrades  during  these  centuries 
is  seen  by  comparing  them  (Fig.  213,  11—15).  Perfected 
Gothic  balustrade  (75)  is  most  beautiful.  At  first  the 
balustrade  was  united  with  the  cornice  (77).  Then  the 
cornice-feature  was  reduced  to  a mere  narrow  stone 
band  (7.?).  Beauty  was  given  later  to  this  plain  band 
by  carving  it  into  open  sculpture  work.  Finally  the 
balustrade  was  banished,  and  this  sculptured  band 
changed  into  the  parapet  (vd,  77),  which  came  into  gen- 
eral favor  with  the  architects  of  perfected  Gothic. 


304 


Ecclesiastical  Architecture. 


§ Parapets  of  the  Fifteenth  and  Sixteenth  Centu= 

ries.  That  craze  for  new  forms  which  ultimately  dis- 


Fig.  214. 


placed  the  charms  of  per- 
fected Gothic  and  gave  the 
lawless  shapes  of  Flamboy- 
ant style,  did  not  spare  the 
parapet.  The  fifteenth  cen- 
tury removed  the  cinque- 
foils and  the  quatrefoils 
from  the  parapet,  and  sub- 
stituted circles  (Fig.  214, 18 , 
19 ),  tripartite  or  bipartite. 
The  sixteenth  century  made 
no  effort  to  retain  in  the 
parapet  a perfect  geomet- 
rical form.  It  had  the  fish- 
bladder  shape  ( 20 ) beneath 
an  arcade;  or  this  shape  dis- 
torted ( 21 , 22) y making  a 
tracery  as  irregular  as  the 
\t  leaping  of  flames.  A tirade 
of  abuse  ought  not  to  be 
hurled  against  the  origina- 
tors of  this  new  mode  of 
ornamentation.  The  pure 
Gothic  was  far  nobler;  but 
when  the  people  lost  all  love 
for  the  higher  and  the  best, 
it  was  no  small  service  to 
replace  it  with  something 

still  decorative  and  fitted  to 

flamboyant  parapkts.  awaken  admiration  in  times 
that  were  fast  becoming  most  degenerate.  These 
changes,  however,  marked  the  approaching  death  of 
Gothic  art. 


Its  Essential  Elements. 


305 


VI.  FORMS  OF  THE  BUTTRESS. 

§ Buttresses  from  the  Eleventh  to  the  Thirteenth 
Century.  The  introduction  of  the  cross- vault  in  the 
aisles  rendered  necessary  the  thickening  of  the  aisle- 


walls  where  the  cross-arches  had  impact.  This  thicken- 
ing at  first  was  little  more  than  a wall-pilaster,  with  all 
resemblance  to  the  column  removed  from  its  surface. 
This  early  buttress  (Fig.  215,  a)  was,  in  fact,  a pier  with 
beveled  edges  attached  to  the  exterior  of  the  wall.  The 
earliest  flying  buttress  (3)  was  made  by  building  the 
pier-buttress  above  the  shed-roof,  and  sending  off  a 

20 


Ecclesiastical  Architecture . 


306 


straight  arm  from  it  to  the  nave-wall.  The  massive 
Norman  vaults  required  corresponding  massiveness  in 
the  buttress.  Hence  the  buttress  was  built  in  receding 
stories,  and  sometimes  the  transition  in  the  stories  was 
mediated  by  an  early  tabernacle  form  (c).  The  buttress 
in  the  Romanesque  style  was  only  for  strength,  not  for 
both  strength  and  beauty. 

§ Buttresses  from  the  Thirteenth  to  the  Sixteenth 
Century.  A peculiarity  of  the  thrust  of  the  pointed 


Fig.  216. 


arch  is,  that  it  is  more  vertical  than  that  of  the  round 
arch.  Hence  the  Gothic  buttresses  were  comparatively 


Its  Essential  Elements . 


307 


slender  in  appearance.  During  the  thirteenth  and  four- 
teenth centuries  the  upper  story  of  the  buttress  (Fig. 
216,  a)  was  paneled  and  terminated  by  a finial.  This  style 
was  followed  in  the  fifteenth  century.  Two  tendencies 
appeared  during  this  period : one  was  to  make  the  buttress 
( b ) as  slight  as  possible;  the  other  was  to  retain  the  pro- 
portions of  the  preceding  century,  but  to  place  upon  the 
buttress  (y)  excessive  ornament.  The  buttress  of  the 
sixteenth  century  was  slight,  and  resembled  a wall- 
pilaster,  not  in  form  alone,  but  in  decoration. 

VII.  DEVELOPMENT  OF  THE  WINDOW. 

§ Windows  from  the  Fifth  to  the  Eleventh  Cen= 
tury.  The  earliest  window-aperture  (Fig.  217,  1)  was 


WINDOWS  OF  THF  BASILICAN  STYI^F. 


framed  by  courses  of  stone  set  within  the  wall-opening 
and  making  the  window-posts  as  well  as  the  arch.  A 
hood-moulding  was  placed  above  this  stone-framing. 
There  was  also  very  early  a circular  window  (.?),  which 


308  Ecclesiastical  Architecture . 

was  framed  by  beveled  stones.  This  framing  distin- 
guished the  window  from  a hole  in  the  wall.  A great 
step  in  advance  was  taken  when  the  window-posts  and 
the  arch  were  separated  by  means  of  a moulding  (3-5). 
The  arch-decoration  either  gave  great  prominence  to  the 
different  arch-stones  ( j,  5),  or  was  made  by  concentric 
circles  ( 4 ).  During  this  period  the  window-posts  were 
carved  so  as  to  resemble  columns  (5). 

§ Windows  of  the  Eleventh  Century.  Greater  size 
and  more  elaborate  ornamentation  were  given  to  win- 


Fig.  218. 


dows  in  this  century.  The  hood  of  the  arch  (Fig.  218,  6) 
had  at  first  the  simple  module  ornament ; but  later,  the 
lineal  Romanesque  decoration  was  introduced  in  the 
arch  and  hood.  The  circular  window  was  developed  by 
a rich  embellishment  of  modules  and  fret-work. 

§ Windows  of  the  Twelfth  Century.  There  were 
most  remarkable  modifications  of  window-apertures  dur- 
ing the  periods  of  the  perfected  Romanesque  and  the 
the  Transitional  styles.  Changes  took  place  in  the  forms 
rather  than  in  the  mode  of  decoration.  The  single  win- 
dow (Fig.  219,  9)  was  made  bipartite  by  introducing  a col- 


Jts  Essential  Elements . 


309 


umn.  The  window-posts  also  were  columns.  A triple- 
arched  window  (jo)  was  formed,  with  the  central  arch  but 


Fig.  219. 


little  higher  than  the  side  arches.  Lineal  ornamentation 
beautified  these  arches.  The  double  window  (/z)  is  evi- 
dently a new  form.  The  two  long,  narrow  lights  are  sepa- 


310  Ecclesiastical  Architecture. 

rated  by  thick  masonry  adorned  with  columns,  thus  em- 
phasizing the  construction  as  a combination  of  two  win- 
dows. Each  window  has  a separate  hood,  which  intersect 
with  each  other.  The  manner  of  decoration  still  remains 
unchanged.  A novel  combination  (. 12 ) unites  the  double 
window  and  the  circular  one.  If  this  style  were  framed 
with  outer  posts  and  an  arch,  there  would  result  the  three- 
in-one  style  of  window,  which  was  brought  to  perfec- 
tion in  the  Gothic.  Windows  of  the  Transitional  style 
(zj,  14 :)  deserve  attention.  The  single-pointed  window 
(zj)  is  striking  rather  than  graceful  in  its  proportions. 
But  the  triple  window  (14)  is  beautiful.  The  central 
pointed  arch  is  very  high  compared  with  the  two  side 
ones,  and  in  this  respect  contrasts  strongly  with  the 
triple  window  (zo),  which  was  used  in  an  earlier  Roman- 
esque style.  The  Catherine  wheel-window  (Z5)  is  the 
most  ornamental,  as  well  as  the  largest  circular  window 
employed  up  to  this  time,  and  is,  indeed,  a most  beautiful 
anticipation  of  the  magnificent  rose-windows  in  Gothic 
architecture. 

§ Windows  of  the  Thirteenth  Century.  The  win- 
dows of  the  early  Gothic  period  should  be  compared 
carefully  with  those  which  were  developed  in  the  pre- 
ceding century.  The  early  Gothic  window  is  lancet- 
shaped  (Fig.  220,  z<5),  but  it  is  easily  deducible  from  a 
Romanesque  form;  for  if  the  pointed  arch  be  substi- 
tuted in  place  of  the  round  arch,  which  is  found  in  the 
double  window  ( vide  Fig.  219,  zz)  of  the  perfected  Ro- 
manesque style,  the  resemblance  is  most  perfect  so  far 
as  the  lancet-shape  is  concerned.  The  lancet-window 
was  left  at  first  without  ornament  (z<5),  but  soon  a hood 
(z/)  was  given  to  the  window.  The  ideal  lancet-window 
( 18 ) is  deeply  recessed,  having  receding  columns  in  the 
jambs  and  archivolts  resting  upon  them.  The  bipartite 


Its  Essential  Elements.  311 

lancet-window  (19)  is  really  one  pointed  arched  window, 
inclosing  two  lancet-windows,  which  have  between  them 
a thick  portion  of  the  wall,  deeply  splayed.  The  pointed 


Fig.  220. 


EARI/V  GOTHIC  WINDOWS. 


arches  within  are  tangent  to  a circular  widow  ( vide  Fig. 
219,  12).  This  bipartite  window  is  the  three-in-one 
style  of  the  Gothic.  A pointed  double  window  ( 20 ) has 
deeply-splayed  sides,  and  the  windows,  in  consequence, 
are  separated  only  by  a slender  columnar  moulding  on 
the  wall.  This  form  is  easily  deducible  from  the  three- 
in-one  window  by  removing  the  outer  arch. 


312  Ecclesiastical  Architecture. 

§ Windows  of  the  Fourteenth,  Fifteenth,  and  Six~ 
teenth  Centuries.  The  fourteenth  century  window  is 
made  multipartite  by  means  of  slender  mullions.  The 


Fig.  221. 


GOTHIC  WINDOWS  OF  THE  MIDDLE  AND  LATE  STYLES. 


seven-in-one  window  was  formed  in  this  manner.  The 
meaning  of  this  expression  is  that  there  are  seven 
arches,  including  the  encompassing  one,  in  the  win- 
dow-aperture. The  narrow  seven-in-one  window  (Fig. 
221,  2i ) has  four  pointed  arches,  included  within  two 


Its  Essential  Elements,  313 

arches,  and  these  two  were  encompassed  by  the  ex- 
terior arch.  The  number  of  foils  in  the  head  of  this 
outside  arch,  if  doubled,  gives  the  number  of  the  en- 
compassed pointed  arches.  The  broad  seven-in-one 
window  ( 22 ) has  seven  equal,  long,  narrow  arches  below 
the  head.  The  broad  seven-in-one  window  of  the  four- 
teenth century  differed  principally  from  that  of  the  fif- 
teenth century  (24)  through  the  tracery  in  the  head  of 
the  window,  the  earlier  being  foils,  the  later  being  flam- 
boyant forms.  The  rose-windows  of  these  two  centuries 
25)  differ,  likewise,  only  in  the  tracery.  The  win- 
dow of  the  sixteenth  century  ( 26 ) is  a simple  opening 
with  perpendicular  and  horizontal  bars,  and  is  unartistic, 
scarcely  ornamental. 


VIII.  DEVELOPMENT  OF  PORTALS. 

§ Portals  from  the  Fifth  to  the  Eleventh  Century. 

The  Grecian  mode  of  roofing  the  portal-space  was  by 


means  of  a stone  lintel,  reaching  from  side  to  side.  The 
method  employed  by  the  Romans  was  to  spring  an  arch 


314 


Ecclesiastical  Architecture . 


from  the  sides.  Christian  architects  from  the  fifth  to  the 
eleventh  century  used  a combination  of  both  forms.  A 
purely  Grecian  doorway  (Fig.  222,  1)  has  above  it,  as 
ornamentation,  the  Roman  arch.  The  second  doorway 
(2)  is  a perfect  Grecian  one  if  the  arch  be  removed,  or  a 
perfect  Roman  doorway  if  the  lintel  be  cut  away.  But 
as  it  stands,  the  doorway  is  a combination,  structurally, 
of  both. 

§ Portal  of  the  Eleventh  Century.  The  beautiful 
Romanesque  portal  is  in  structure  simply  this  combina- 
tion of  the  Roman  and  Grecian 
methods.  The  opening  (Fig. 
223,  3 ) is  roofed  by  the  Roman 
arch ; the  archway  is  made  re- 
cessed by  arches  of  diminishing 
diameters.  The  innermost  pil- 
lars on  each  side  supports  the 
lintel.  The  archivolts  of  this 
archway  are  beautifully  carved 
with  the  lineal  decorative  forms. 
The  columns  constitute  the 
door-jambs,  often  also  beautifully 
adorned.  The  chief  departure 
from  this  type  of  the  Roman- 
esque portal  in  the  eleventh  cen- 
tury is  found  in  the  removal  of 
the  lintel  (Fig.  224,  4),  and  in 
substituting  another  mode  of 
embellishment.  The  doorway 
was  still  a receding  series  of  diminishing  arches.  The 
new  mode  of  decoration  consisted  of  sculptured  figures 
rather  than  lineal  designs.  Bosses,  faces,  symbols  of 
the  arts  and  sciences,  were  introduced  in  the  archway, 
also  the  forms  of  animals  and  the  effigies  of  sinners  and 


Fig.  223. 


NORMAN  ROMANESQUE) 


PORTAE- 


Its  Essential  Elements. 


3i5 


saints.  There  was  at  this  time  a general  revolt  to  the 
ecclesiastical  symbolism,  which  had  been  in  vogue.  This 
opposition  was,  in  reality,  only  the  first  expression  within 
the  realm  of  ecclesiastical  architecture  of  that  new 
life  which  was  to  develop  new  conceptions  of  human 
freedom,  new  restrictions  upon  the  sovereign  and  hie- 
rarchical powers.  The  hope  in  F|G<  224. 

the  new  movement,  as  evidenced  x 

in  the  portals  of  churches,  is 
seen  in  the  fact  that  resort  was 
not  made  to  the  classical  modes 
of  decoration,  but  that  the  work 
of  the  artist  was  independent. 

Any  form  was  cut  into  stone 
for  ornament  sake,  anything  re- 
minding the  people  of  the  life 
around  them.  The  portals,  there- 
fore, became  a kind  of  museum 
of  what  the  people  saw  and  loved. 

Here  is  the  most  attractive  fea- 
ture of  the  new  mode  of  decora- 
tion. Everything  was  tried,  all 
things  were  held  tentatively. 

The  dry-as-dust  censor  of  men’s 
work  may  criticise  all  this  art 
as  bizarre  ; nevertheless,  it  will  ever  have  lively  interest 
for  those  who  observe  to  learn  the  life  and  spirit  of 
the  past. 

§ Portals  of  the  Twelfth  and  Thirteenth  Centuries. 

Three  modifications  of  the  portal  occurred  in  this  cen- 
tury. Yet  the  ornamentation  of  all  three  showed  a re- 
turn to  the  lineal  mode,  thus  indicating  antagonism  to 
that  movement  in  the  preceding  century,  which  united 
the  irreverent  and  the  grotesque  in  the  ornamentation  of 


ITALIAN  ROMANESQUE 
PORTAE. 


316 


Ecclesiastical  Architecture. 


portals.  The  first  modification  (Fig.  225,  5)  made  the 
arch  appear  as  if  it  was  simply  two  stems  bent  above  into 
an  arch.  The  idea  of  an  arch  supported  by  columns 
was  banished  from  this  form  of  portal.  The  second 


Fig.  225. 


LATE  ROMANESQUE  AILD  TRANSITIONAL  PORTALS. 


form  (6)  was  simply  concentric  arches,  in  the  same 
plane,  resting  upon  pillars.  The  third  form  (7)  was 
transitional,  being  a pointed  arch  upon  pillars  with  lintel 
set  in  receding  jambs  below  the  spring  of  the  arch. 

§ Portals  from  the  Twelfth  to  the  Sixteenth  Cen= 
tury.  The  Gothic  portals  of  the  thirteenth  and  four- 
teenth centuries  were  either  single  pointed  arches  with 
receding  door-jambs,  or  else  a triple  archway.  There 
was  most  remarkable  beauty  in  the  Gothic  doorway  of 
the  thirteenth  and  fourteenth  centuries  (Fig.  226,  8). 
The  pillars  in  the  jambs  and  the  archivolts  in  the  arch 
were  wrought  into  one  harmonious  whole.  Ornamenta- 
tion, also,  was  churchly,  being  statues  of  eminent  re- 
ligious persons  or  ideal  forms  which  illustrated  devotion 
to  the  Church.  The  head  of  the  arch  contained  sculp- 


Its  Essential  Elements. 


3i7 


tured  scenes  from  the  Scriptures.  The  portal  of  the 
fifteenth  and  sixteenth  centuries  (9)  had  the  ogee  arch, 

Fig.  226. 


GOTHIC  PORTALS. 


and  received  an  ornamentation  of  artistic  forms,  seldom 
indicative  of  religious  associations  or  connected  with  re- 
ligious thought. 

IX.  DEVELOPMENT  OF  THE  TOWER  AND  SPIRE. 

§ Towers  from  the  Sixth  to  the  Twelfth  Century. 

The  campanile  was  a tall,  slender  tower,  with  unbroken 
surface  until  you  approached  the  top,  where  an  open  ar- 
cade was  introduced.  These  towers  were  used  as  early 
as  the  sixth  century,  and  continued  to  be  built  until  the 
twelfth  century.  They  were  erected  usually  in  the  vi- 
cinity of  the  choir.  Italian  architects  gave  preference 
to  these  campaniles.  Transalpine  architecture  perfected 
the  tower  as  a structural  part  of  the  church  edifice. 


RC  CLES/ASTICAL  A R CHITECTURE. 


18 


§ Towers  of  the  Twelfth  Century.  The  earliest 
form  of  the  Romanesque  tower  (Fig.  227,  a)  was  square, 
with  its  surfaces  pierced  with  arcades.  The  lower  stories 
of  these  arcades  had  fewer  arches  than  those  above.  A 
simple  gable-roof  completed  the  tower.  A more  grace- 
ful form  (/£)  had  a single  story  of  arcades  and  a pyra- 
midal roof  with  incurved  sides.  This  type  shows  a most 


Fig.  227. 


a.  b.  c. 

ROMANESQUE)  TOWERS. 


marked  improvement  in  the  beauty  of  the  arcade.  A 
third  modification  ( c ) is  to  be  carefully  noticed  because 
of  its  influence  upon  the  spires  of  the  following  century. 
The  upper  story  of  this  tower  is  a smaller  square  than 
that  of  the  body  of  the  tower.  Windows,  rather  than 
arcades,  pierced  the  sides  of  this  smaller  square.  The 
roof  was  begun  as  if  it  would  be  a cross-gable,  but  in- 
stead, a pyramidal  roof,  whose  sides  are  diamond  shape, 
is  constructed.  The  second  and  third  forms  are  attract- 
ive types  of  towers. 


Its  Essential  Elements. 


3*9 


§ Spires  of  the  Thirteenth  Century.  There  are  in 
this  century  three  forms  of  the  spire.  One  (Fig.  228,  a) 
has  the  body  of  the  spire  a square.  There  is  built  upon 
this  foundation  an  octagonal  structure  of  two  stories, 
each  story  having  its  faces  pierced  with  windows.  An 


Fig.  228. 


a.  b.  c. 

transition  An  and  eardy  gothic  spires. 


incurved  pyramidal  roof  completes  the  spire.  The  pre- 
ceding century  gave  the  tower  with  the  upper  story 
smaller  than  the  body  of  the  tower;  and  also  in  this  pre- 
ceding century  we  find  the  incurved  pyramidal  roof. 
The  combination  of  these  two  features  in  the  thirteenth 
century  made  the  transitional  spire.  The  second  form 
of  spire  (3)  is  also  transitional.  The  story  which  is  the 
lower  and  the  foundation  has  tall,  slender,  round  arched 


320  Ecclesiastical  Architecture . 

windows,  and  is  square;  the  next  story  is  octagon,  with 
pointed  windows.  The  roof  is  pyramidal,  but  the  faces 
are  not  incurved.  The  third  form  ( c ) is  the  early  Gothic 
spire.  The  body  of  the  tower  is  a square ; the  second  is 
also  a square,  but  of  smaller  dimensions,  and  is  pierced 
with  pointed  arches.  The  roof  is  pyramidal,  but  not  in- 
curved. The  small  gable-windows  in  the  roof  are  to  be 
noticed  because  they  became  beautifully  developed  in 
subsequent  spires. 

§ Spires  of  the  Fourteenth,  Fifteenth,  and  Six* 
teenth  Centuries.  The  early  Gothic  spire  was  changed 
only  in  its  proportions.  The  octagonal  belfry  was 
built  higher;  and  tall,  narrow,  pointed  windows  made 
the  openings  in  its  sides.  Then  the  roof  was  in 
creased  in  height.  The  result  was  the  perfected  Gothic 
tower  of  the  fourteenth  century  (Fig.  229,  a ),  a struc- 
ture so  daring  in  its  altitude,  so  apparently  fragile  in  its 
construction,  that  it  seems  set  up  to  offer  mockery  to 
the  irrational  but  mighty  winds.  Early  Gothic  {vide 
Fig.  228,  c)  developed  the  elements  of  this  spire;  per- 
fected Gothic  added  only  harmony  of  proportion  and 
exquisite  beauty.  The  decorated  Gothic  spire  of  the 
fifteenth  and  sixteenth  century  (£)  exhibits  the  love  of 
the  Gothic  architect  for  this  feature  of  his  edifice.  The 
wealth  of  ornament  on  this  structure  is  truly  amazing. 
Indeed,  the  observer,  beholding  all  this  marvelous 
beauty,  wrought  in  stone  and  placed  at  such  a height, 
finds  it  not  in  his  heart  to  censure  that  just  pride  which 
led  the  architect  to  pause  and  twice  to  crown  this  spire 
before  he  had  reached  its  lofty  apex. 

§ The  Law  of  Development.  No  truth  is  more  fre- 
quently impressed  upon  the  close  observer  of  progress 
in  the  grace  and  beauty  of  architectural  forms  than  that 


Its  Essential  Elements. 


321 


no  true  advance  in  a style  can  be  made  unless  all  that 
is  best  in  its  earliest  stage  is  conserved.  The  perfected 
Gothic  spire  is  the  early  Gothic  spire  beautified.  A new 
style  is  always  the  expression  of  new  intellectual  and 
spiritual  life,  one  or  both.  The  Romanesque  style  came 


a.  b. 

PERFECTED  AND  DATE  GOTHIC  SPIRES. 


into  being  when  imperial  grandeur  haloed  the  hierarchy. 
New  life  ever  introduces  new  forms,  and  the  innate  love 
of  the  beautiful,  planted  in  man  by  the  Creator,  develops 
these  forms  from  the  crude  to  the  perfect.  Then  de- 
cay sets  in,  and  man,  to  hide  the  hand  of  death  even  for 
a little  while,  overloads  his  works  with  the  extravagance 
of  ornamentation. 


21 


Chapter  IX* 

RENAISSANCE  STYLE,  1450-1800. 

§ Humanism.  The  Middle  Ages  closed  as  soon  as 
limitations  had  been  established  to  the  ecclesiastical  and 
civil  authorities,  and  great  rights  were  guaranteed  to  the 
people.  The  modern  era  began  when  the  people,  with 
their  newly-acquired  rights,  assumed  and  demanded  free- 
dom for  the  intellect  and  conscience.  Ecclesiastical 
theology  was  then  supplanted  by  classical  studies.  The 
orators  of  Greece  and  Rome,  not  the  .speculations  and 
refinements  of  the  schoolmen,  occupied  the  thoughts  of 
men.  The  Church  fathers  were  forgotten  in  the  charms 
of  Virgil,  Horace,  and  Homer.  Architects  no  longer 
went  to  great  cathedrals  and  ancient  Christian  basilicas 
for  inspiration  and  suggestion ; but  they  stood  by  the 
ruins  of  ancient  pagan  temples,  and  learned  again  the 
secrets  of  noble  colonnades  with  their  imposing  en- 
tablature, of  beautiful  porticoes  with  their  pedimented 
splendors.  Men  began  to  regulate  life  by  the  models  of 
this  world.  Men  became  aware  that  man  was  great  and 
worthy  of  study  before  the  Christian  revelation  was 
made  manifest.  Men  began  to  understand  that  Chris- 
tianity had  displaced,  not  alone  a false  religion,  but  also 
a magnificent  civilization,  in  which  laws  ruled,  heroic 
men  contended  for  human  rights,  great  poets  enshrined 
in  verse  thoughts  and  hopes  which  belonged  to  all 
mankind.  The  enlightenment  of  the  mediaeval  mind, 
through  classical  lore,  resulted  in  humanism. 

§ Italy  as  the  Emancipator.  The  decadent  Gothic 
styles  of  the  fifteenth  century  attest  the  general  revolt 
322 


Renaissance  Style. 


323 


to  the  all-powerful  influence  of  the  papal  Church,  which 
had  retained  full  sway  for  centuries.  The  papal  conces- 
sions to  the  civil  powers  evidence  the  submission  of  the 
Pope  to  the  new  order  of  things ; then  priest,  prince,  and 
people  found  oblivion  for  the  memories  of  bitter  strug- 
gles in  the  new  joys  and  novelties  of  the  Renaissance. 
Mediaeval  Christendom  was  brought  to  an  end  about  the 
time  when  the  Eastern  empire  fell  before  the  Moslem 
hosts,  and  with  it  fell  also  the  prestige  of  the  Greek 
patriarch  at  Constantinople.  In  this  same  period  the 
holy  Roman  empire  was  dismembered,  and  by  its  sub- 
version the  papacy  was  left  without  the  aid  of  its  most 
efficient  ally.  Italy,  when  pagan,  was  the  abode  of  the 
world’s  civil  ruler  and  the  home  of  the  world’s  best  cul- 
ture in  both  literature  and  arts.  Italy,  when  Christian, 
first  developed  an  ecclesiastical  hierarchy,  whose  Pope 
attained  almost  world-wide  dominion,  enslaving  the 
minds  and  consciences  of  all  men.  Italy  next  restored 
the  literature  and  arts  of  ancient  Rome  to  the  modern 
nations,  and  thus  awakened  the  era  of  intellectual  free- 
dom, the  sure  forerunner  of  religious  liberty.  “ Italy 
was  one  great  school  of  the  new  learning  at  the  moment 
when  the  German,  French,  and  Spanish  nations  were 
invited  to  her  feast.”  This  feast  was  the  Renaissance. 

§The  Roman  Catholic  Church.  Ecclesiastics  as 
well  as  civilians  shared  in  the  general  enthusiasm  for 
the  revival  of  learning.  Yet  soon  it  became  apparent 
that  the  decline  of  papal  authority  grew  with  the  in- 
crease of  pagan  culture.  The  quickening  forces  in  so- 
ciety were  not  the  faiths  and  dogmas  of  the  Church,  but 
the  poems  and  philosophies  of  Greece  and  Rome.  The 
inspiration  of  artists  came  not  from  the  Christian  basil- 
icas and  cathedrals,  but  from  the  neglected  ruins  of  Ro- 
man temples  and  palaces,  now  seen,  after  centuries  of 


324 


Ecclesiastical  Architecture. 


blindness,  to  be  great  and  beautiful  in  their  crumbling 
fragments.  The  outward  vesture  of  the  Western  World 
was  indeed  Christian,  but  the  animating  spirit  was  pagan. 
The  papal  Church  sought  to  regain  its  ancient  prestige. 
Compromise  was  effected.  Not  strong  enough  to  pro- 
hibit sins,  the  papal  Church  proclaimed  indulgence  of 
them ; and  the  price  for  this  new  license  in  conduct  was 
used  to  erect  the  present  St.  Peter’s  at  Rome,  a Chris- 
tian basilica  in  ground-plan,  but  a pagan  edifice  in  ele- 
vation. Yea,  its  nave  was  adorned  with  such  forms  as 
would  be  admired  in  the  baths  of  Caracalla,  but  which 
are  sadly  misplaced  in  the  church-pave,  where  the  glory 
of  Gothic  art  had  been  displayed  for  ages.  Paganized 
Christianity  is  the  Roman  Catholic  Church,  and  its 
weapons  were  no  longer  those  of  the  gospel,  but  the 
tyranny  of  the  Inquisition  and  the  secret  order  of  the 
Jesuits. 

§The  Architecture  of  the  Renaissance.  Princes, 
not  priests,  were  the  leaders  of  the  Renaissance.  Hence, 
as  the  culture  of  the  new  movement  wTas  not  religious, 
the  architecture  was  not  ecclesiastical.  Palaces,  not 
churches,  were  the  great  creation  of  the  Renaissance 
architects.  Yet  the  Roman  Catholic  Church  showed  its 
continued  vitality  and  splendor  by  creating  many  palace- 
churches,  wherein  were  banished  all  reminders  of  the 
ecclesiasticism  of  the  Middle  Ages.  All  mediaeval  Chris- 
tianity, with  its  associations  of  enslavement,  had  become 
distasteful  to  the  potentates  of  the  new  era.  The  early 
Christian  basilica  in  earliest  times  was  the  adaptation  of 
a pagan  basilica  to  the  needs  of  Christian  worship.  But 
the  Christianized  building  was  resplendent  with  the 
great  symbols  of  the  Church.  The  Christian  Church  of 
the  Renaissance  was  a pagan  edifice  in  construction  and 
ornamentation,  wherein  Christian  worship  was  celebrated. 


Renaissance  Style. 


325 


Hence  this  Renaissance-church  is  not  Christian,  but 
pagan  in  spirit.  The  paneled  splendor  of  a Roman 
palace  supplanted,  in  its  interior,  all  the  precious  Chris- 
tian symbolism  and  decoration  of  the  past;  for  they 
had  lost  all  instruction  to  a world-loving  clergy  and  laity. 


Fie.  230. 


A.  STRUCTURAL  FEATURES  OF  THE  RENAISSANCE. 

§Ground=pIan  and  Vaulting.  Types  of  Christian 
worship  and  the  ground-plans  adapted  to  them  are  more 
persistent  than  architectural  environment.  The  changes 
of  policy  and  the  new  means  employed  to  retain  hold  upon 
believers  in  Christ  as 
well  as  to  resist  and 
crush  the  new  relig- 
ious movements  of  the 
time,  had  transformed 
the  Papal  Church  into 
the  Roman  Catholic 
Church.  The  ancient 
order  of  service,  with 
its  attendant  cere- 
monies, continued  un- 
changed. Hence  the 
plan  of  church,  suitable 
in  the  past  for  Christian 
worship,  was  also  ap- 
propriate for  the  Re- 
naissance church ; and 
so  we  find  all  the  typi- 
cal ground-plans  in  use. 

The  plan  of  St.  Francisca  (Fig.  230)  is  the  basilican  or 
earliest  type  of  the  Christian  Church.  Four  large  domes 
vault  the  nave.  A similar  dome,  a cylindrical  vault, 
and  a half-dome  make  the  vaulting  of  the  choir ; two 
cylindrical  vaults  and  a single  dome,  like  those  in  the 


PlyAN  ST.  FRANCISCA,  FERRARA. 


326 


Ecclesiastical  Architecture . 


Fig.  23i. 


nave,  constitute  each  transept.  Smaller  domes  roof  the 
aisles.  The  aisle-chapels  are  vaulted  by  cylinders.  Thus 
it  is  seen  that  the  groined  vault  has  no  place  in  this  Re- 
naissance . church.  With  its  disappearance  there  also 
passed  away  the  clustered  piers  of  the  nave,  and  the 

beautiful  triforium, 
and  the  graceful  clere- 
story ; or,  if  these  re- 
mained, they  were  so 
altered  that  one  can 
scarcely  recognize 
their  presence.  A By- 
zantine plan  (Fig.  231) 
is  employed  in  the 
Church  of  S.  Maria. 
It  is  the  Greek  cross 
with  the  great  dome 
above  the  crossing.  In 
the  angles  of  the  arms 
are  domical  chapels, 
connected  with  aisles. 
The  transept  arms 
have  portals.  The  mighty  piers,  supporting  the  central 
dome,  have  columnar  mouldings,  yet  they  make  no  such 
impression  of  organic  structure  as  the  clustered  col- 
umns of  the  Gothic.  All  aisle-vaultings  are  cylindrical. 
Independent  of  decoration,  there  is  in  this  edifice  great 
impressiveness.  The  length  of  the  nave  and  choir,  in- 
terrupted on  the  sides  by  massive  piers,  the  barrel- 
vaults  overhead,  together  with  the  great  central  dome 
and  mighty  arches,  are  most  impressive.  The  plan 
of  St.  Peter’s,  at  Rome  (Fig.  232),  is  Romanesque,  hav- 
ing a long  nave,  the  crossing,  and  beyond,  the  choir. 
But  it  is  a Romanesque  plan  made  in  the  following 
manner.  At  first  a Greek  cross  with  a magnificent 


PLAN  S.  MARIA,  GENOA. 


Renaissance  Style. 


327 


Fig.  232. 


dome  above  the  crossing,  was  designed  for  the  plan  of 
the  church;  then  later,  several  bays  on  the  west  were 
added  to  make  the  L,atin  cross. 

The  result  is  a Romanesque 
ground-plan,  with  an  elevation 
embodying  a complete  Byzan- 
tine structure.  The  cylin- 
drical vault  covers  the  nave  ( 
and  choir,  and  the  crossing 
has  the  most  remarkable  dome 
ever  constructed  by  man.  The 
side-aisles  and  the  transepts 
have  cylindrical  vaults  or 
small  domes,  making  pleasing 
changes  in  the  ceiling  by  the 
different  modes  of  vaulting. 

_ rtoo  The  chief 

Fig  233 

distinc-  PLAN  ST.  PETER’S,  ROME 

tion  between  the  Romanesque  and 
Gothic  plan  is  in  the  narrow  pro- 
portions and  greater  length  for  the 
Gothic.  The  plan  of  St.  Paul’s 
(Fig.  233)  is  the  Renaissance  Gothic 
plan.  The  nave  and  choir  are 
roofed  by  domes,  and  the  crossing 
is  covered  with  a dome  of  great 
magnitude,  which  seems  larger  by 
contrast  with  the  small  domes  of 
the  nave  and  choir.  The  side-aisles 
are  vaulted  with  small  domes. 
There  is  every  advantage,  in  this 
mode  of  roofing  the  nave  and  choir, 
over  the  cylindrical  vault,  for  va- 
riety of  effects  may  be  secured  as  well  as  beautiful  sur- 
prises, since  the  eye  naturally  pauses  at  each  dome- 


PLAN  ST.  PAUL’S, 
LONDON. 


328  Ecclesiastical  Architecture . 

opening  in  its  gaze  along  the  ceiling  toward  the  choir. 
The  artist  recognizes  this  fact,  and  so  makes  the  dome’s 
surface  replete  with  the  charms  of  art.  The  plan  of  the 
Renaissance  church  may  be  either  Basilican,  Byzantine, 
Romanesque,  or  Gothic.  But  the  structure  upon  these 
plans  has  but  little  resemblance  to  any  antecedent 
ecclesiastical  architecture. 

B.  RENAISSANCE  EXTERIORS. 

§ Basilican  Type  with  Dome.  Often,  in  the  Ro- 
manesque or  Gothic  church,  there  was  placed  over  the 

crossing,  before 
the  choir,  a noble 
tower  or  spire. 
The  Renaissance 
church  built  here 
a dome.  The 
church  of  S. 
Maria  della  Grazie 
(Fig.  234)  exhibits 
the  type  of  struc- 
ture  with  the 
Basilican  nave, 
which  has  no 
prominent  clere- 
story. The  dom- 
ical portion  made 
the  transepts,  and 
gave  a cruciform 
character  to  the 
building  as  seen 
from  without.  There  are  four  great  piers  at  the  corners 
of  the  crossing,  which  rise  higher  than  the  nave-roof,  be- 
tween which  the  dome  is  constructed.  Hence  the  tran- 
sept is  centrally  a square,  with  the  north  and  south  ter- 


Fig.  234. 


CHURCH  OF  ST.  MARIA,  MILAN. 


Renaissance  Style. 


329 


urinations  semicircular.  Two  circles  of  windows,  one 
above  the  other,  and  a roof,  constitute  this  dome.  This 
composite  building  is  Renaissance.  The  domical  por- 
tion is  worthy  of  admiration. 


Fig.  235. 


§ Domed  Basilica  with  Attic  Story.  The  two  medi- 
aeval styles,  the  Romanesque  and  Gothic,  developed  most 
striking  cleresto- 
ries in  connection 
with  the  nave  and 
choir.  Also,  these 
styles  preferred 
the  cruciform  roof. 

The  Renaissance 
also  presents  a 
structure  with  the 
clerestory  and  the 
cruciform  roof. 

But  here  resem- 
blances cease.  The 
Church  of  ha 
Sorbonne,  Paris 
(Fig-  2 35)  is  a 
beautiful  example 
of  this  type.  The 
upper  termination 
of  the  body  of  the 
church  is  com- 
pleted by  heavy 
cornice  and  a balustrade.  Columns  or  pilasters,  not 
buttresses,  make  the  perpendicular  divisions.  The  at- 
tic, or  Renaissance  clerestory,  resembles,  in  finish,  the 
body  of  the  church.  The  nave  and  aisle-roofs  are  partly 
shut  out  from  view  by  means  of  the  balustrade.  A 
classical  portico  makes  the  western  portal.  Corinthain 


CHURCH  OF  LA  SORBONNE. 


330 


Ecclesiastical  Architecture. 


columns  are  in  the  lower  story,  composite  columns 
above.  The  pediment  is  rich  in  sculptured  ornament. 
The  beautiful  dome  above  the  crossing  rises  in  majesty 
above  the  portico.  The  drum  of  the  dome  is  strength- 
ened by  buttresses,  whose  faces  are  wrought  into  clus- 
tered composite  pilasters,  and  the  dome  itself  is  crowmed 
by  a balcony,  a lantern,  and  a cross.  We  seek  in  vain 
here  for  reminders  of  mediaeval  art.  And  although  the 
column,  the  entablature,  the  pediment,  the  dome,  are 
classical,  the  whole  building  is  in  its  spirit  and  form 
wholly  modern. 


Byzantine  Type  of  the  Renaissance.  The  Byzan- 
tine church  is  in  its  plan  a Greek  cross,  and  above  the 

Fig.  236.  crossing  is  the 

magnificent  cen- 
tral dome.  The 
Renaissance  archi- 
tects found  this 
type  peculiarly 
fitted  to  exhibit 
classical  features. 
S.  Maria  di  Carig- 
nano,  of  Genoa 
(Fig.  236)  is  a Re- 
naissance Byzan- 
tine church.  The 
wall  of  the  dome’s 
drum  is  ornament- 
ed with  engaged 
columns,  and  the 
openings  therein 
are  deeply  re- 
cessed windows.  These  engaged  columns  seemingly 
support  a cornice.  The  lantern,  with  a surmounting 


CHURCH  OF  S.  MARIA. 


Renaissance  Style. 


33i 


cross,  completes  the  dome.  The  angles  of  the  tran- 
septs of  the  church  have  domical  chapels,  and  small 
domes  with  lanterns  indicate,  on  the  roof,  the  position 
of  these  chapels.  There  are  corner  towers,  which  have 
their  completion  in  domical  structures,  similar  to  one 
which  is  placed,  as  the  lantern,  upon  the  dome.  The 
pedimented  portico  and  the  body  of  the  towers  have 
beautiful  columns  or  pilasters,  which  space  the  wall-sur- 
face into  rectangular  compartments.  These  columns 
support  a prominent  entablature.  This  church  is  built 
after  the  original  plan  for  St.  Peter’s,  at  Rome. 

§ Transalpine  Renaissance  Exteriors.  The  love  of 
the  Western  nations  of  Gothic  extraction  always  at- 
tached itself  to  structures  of  lofty  height.  The  Roman- 
esque style,  as  soon  as  it  came  in  transalpine  regions, 
assumed  height  for  its  nave,  and  joined  thereto  the 
height  of  its  towers.  The  Gothic  style  in  these  same 
regions  aspired  to  loftiest  altitude  for  its  naves  and  its 
spires.  It  is  not  strange,  therefore,  that  as  soon  as 
the  Renaissance  style  was  adopted  in  France,  the  edi- 
fices were  then  given  such  form  as  to  set  forth  their 
height  in  the  most  striking  manner.  This  end  was  ac- 
complished by  means  of  the  clerestory,  which,  in  the 
Renaissance  buildings,  appeared  as  attic  stories,  corre- 
sponding to  the  attic  feature  in  the  classical  portico  of 
the  Renaissance  church.  France  was  the  most  con- 
genial soil  for  the  new  architectural  style. 

§ Byzantine  Type  with  Attic  Story.  The  Church 

of  the  Invalides,  at  Paris  (Fig.  237),  is  a majestic  edi- 
fice. The  cross  above  the  dome  is  three  hundred  and 
twenty-three  feet  above  the  ground.  The  nave  and 
choir,  together  with  the  transepts,  make  the  building  a 
Greek  cross,  the  angles  having  domical  chapels.  Each 


332 


Ecclesiastical  Architecture. 


Fig.  237. 


CHURCH  OF  THE  INVAIJDES. 


Renaissance  Style. 


333 


face  of  the  church  has,  centrally,  a pediment  resting 
upon  composite  columns,  but  the  southern  face  is  made 
the  principal  facade,  and  is  given  an  imposing  portico 
with  the  Doric  order  in  the  lower  story  and  the  Corinth- 
ian in  the  upper.  The  body  of  the  church  has,  in  both 
stories,  engaged  columns,  dividing  the  walls  into  com- 
partments, while  those  in  the  upper  story  have  allegor- 
ical figures  placed  in  front  of  them.  The  drum  of  the 
dome  has  two  buttresses  at  each  angle  of  the  cruciform 
plan.  These  eight  buttresses  have  each  a pair  of  en- 
gaged columns.  There  are  also  between  each  pair  of 
buttresses  one  pair  of  engaged  columns  on  the  face  cf 
the  drum.  Thus  forty  beautiful  columns  surround  the 
drum.  A circular  stylobate  is  its  beautiful  and  strong 
foundation.  An  attic  story  with  a circle  of  windows  is 
added  to  the  drum,  whose  walls  are  strengthened  by  tri- 
angular buttresses  above  those  of  the  drum.  Twelve  gilt 
ribs  divide  the  surface  of  the  dome,  and  in  the  trian- 
gular compartments  thus  made  are  projecting  devices  of 
arms  and  various  other  trophies.  A lantern  with  spire, 
globe,  and  cross  completes  this  most  remarkable  dom- 
ical structure. 

§ Renaissance  Basilica  with  Towers.  The  Renais- 
sance types  of  churches  which  we  have  considered  show 
little  kinship  to  the  mediaeval  ecclesiastical  edifices. 
Classical  porticoes,  walls  spaced  by  engaged  columns, 
heavy  cornices,  upper  and  lower  stories,  towering  domes 
of  the  Renaissance,  are  all  external  features  in  boldest 
contrast  to  deeply-arched  portals,  walls  spaced  by  but- 
tresses, gable-roofs,  and  lofty  towers  of  the  Gothic  and 
Romanesque  styles.  The  feeling  that  the  domical  Re- 
naissance church  belongs  rather  to  a civic  than  an  ec- 
clesiastical style  of  architecture,  increases  more  and 
more  with  acquaintance.  But  the  type  of  Renaissance 


334  Ecclesiastical  Architecture . 

church  produced  in  the  Cathedral  de  Vitry-de-Frangais 
(Fig.  238)  demonstrates  that  the  two-storied  edifice,  hav- 
ing rectangular,  not  triangular  divisions,  two  orders  of 

columns,  separated 
by  massive  cornice, 
instead  of  superim- 
posed  series  of 
pointed  arcades,  is  a 
churchly  building, 
although  all  medi- 
aeval features  have 
been  supplanted  by 
classical  ones  in  the 
exterior.  Consider 
this  western  facade. 
The  two  massive 
towers  and  the  cen- 
tral portion  before 
the  nave  constitute 
a front  which  was 
common  in  churches 
for  centuries.  The 
decadent  Gothic 
styles,  with  marked 
perpendicular  and  horizontal  features,  prepared  the  way 
for  the  classical  divisions  of  this  facade.  The  column 
with  entablature  has  banished  the  column  with  the  arch. 
A window  is  no  longer  the  space  within  an  arched 
construction,  but  an  aperture  in  a wall.  The  type  of 
the  facade  is  mediaeval,  but  the  composing  elements 
are  Renaissance.  So  is  the  edifice  throughout  Renais- 
sance. The  churchliness  of  this  edifice  makes  it  far 
more  attractive  than  those  domical  churches  which  are 
. adorned  with  pagan  porticoes,  having  the  beauty  of 
classical  columns  and  a sculptured  pediment. 


Fig.  238. 


CATHEDRAL  DE  VITRY-DE-FRAN£AIS. 


Renaissance  Style. 


335 


Fig.  239. 


§ Renaissance  Church  with  the  Western  Tower. 

The  distinction  between  the  nave  and  the  side-aisles 
(Fig.  239)  is  marked  in  the  ex- 
terior by  a low  clerestory  over 
the  nave.  Horizontal  lines  ter- 
minate both  the  body  of  the 
church  and  its  clerestory.  The 
disappearance  from  view  of 
roofs  is  characteristic  of  all  Re- 
naissance churches.  The  ban- 
ishment of  every  reminder  of 
mediaeval  art  is  to  be  noticed 
in  this  exterior.  The  windows 
are  four-cornered,  with  project- 
ing cornice,  and  above  them  are 
placed  circular  windows.  The 
portal  in  the  tower  is  composed 
of  pillars  and  architrave,  with  a 
semicircular  gable  above.  The 
window  of  the  tower  is  a repe- 
tition of  those  in  the  walls  of 
the  church.  The  belfry-story 
has  four  faces,  each  having  two 
columns  with  an  architrave  and 
semicircular  gable.  The  spire 
is  a series  of  four  stories,  di- 
minishing in  diameter  as  they 
rise.  The  structure  is  finished 
with  a finial.  There  is  great 
height  here  as  compared  with 
the  elevation  of  the  nave,  but 
there  is  lacking  that  grace  and 
beauty  which  charms  in  the 
Gothic  tower  and  spire.  This, 

. . . . , , CHURCH  OF  ST.  BRIDE’S, 

however,  is  to  be  said  when  a London 


336  Ecclesiastical  Architecture. 

review  of  the  types  of  the  Renaissance  churches  is 
made,  that  the  architects  of  the  style  succeeded  in  de- 
stroying the  churchly  appearance  of  an  edifice  when 
they  made  the  dome  and  classical  portico  the  dominant 
features ; but  that  they  succeeded  in  producing  churches 
that  seemed  religious  and  not  civil  buildings,  when 
they  adopted  the  tower,  banished  porticoes,  and  em- 
ployed the  orders  to  decorate  portals  and  ornament 
clerestories. 

§The  Grecian  Temple  as  Church.  There  was 
much  to  commend,  when  Christians  ascended  the  hill  of 
Athens,  upon  which  the  Parthenon  stood,  and  converted 
its  beautiful  but  desolate  temple  into  a Christian  church. 
It  was,  at  least,  a most  convincing  argument  that  Chris- 
tianity had  overthrown  paganism.  But  what  can  be  said 
in  favor  of  that  spirit  which  led  the  Christians  of  Paris 
in  the  eighteenth  century  to  reproduce  the  Parthenon 
as  a Roman  Catholic  church?  The  Madeleine,  of  Paris 
(Fig.  240),  is  the  Roman  Catholic  Parthenon.  As  a 
work  of  architecture  it  is  a successful  imitation.  The 
colonnade  of  fifty-two  Corinthian  columns,,  each  forty- 
nine  feet  high  and  sixteen  feet  in  circumference,  make 
a peristyle  which  may  challenge  comparison  with  the 
best  work  of  the  Greeks.  As  an  ecclesiastical  edifice,  if 
it  is  anything,  this  building  is  a great  Christian  symbol 
of  the  Renaissance.  Artists  had  vied  with  each  other  in 
portraying  Magdalen  as  a most  beautiful  woman,  under 
the  reproach  of  the  world,  but  saved  from  despair  by  the 
winning  mercy  of  the  Christ.  The  architect  has  sym- 
bolized this  act.  He  rescues  the  noblest  pagan  religious 
structure,  and  enshrines  within  it  the  merciful  religion 
of  the  Christ.  The  alto-relief  in  the  pediment  of  the 
southern  porch  is  colossal,  being  one  hundred  and 
twenty  feet  in  length  and  twenty-four  feet  in  height. 


Renaissance  Style. 


337 


Here  Magdalen  kneels  at  the  feet  of  the  Christ,  and  on 
the  right  of  the  Master  are  the  angels,  Mercy,  Inno- 
cence, Faith,  Hope,  and  Charity;  on  the  left  the  Angel 
of  Vengeance  drives  away  Hatred,  Unchastity,  Hypoc- 
risy, and  Avarice.  Condemn  this  group,  then  condemn 


♦ Fig.  240. 


CHURCH  OF  MADELEINE,  PARIS. 


the  temple-church.  But  the  pagan  churches  of  St. 
Peter’s  at  Rome,  and  St.  Paul’s  at  London,  have  no 
such  justification. 

C.  RENAISSANCE  INTERIORS. 

§The  Nave  with  Arcade  and  Cylindrical  Vault. 

The  magnificent  nave  of  the  basilica  of  St.  Peter’s  at 
Rome  (Fig.  241)  presents  a series  of  lofty,  ponderous 
arches,  poised  upon  massive  piers.  Each  nave-bay  is  one 
astonishing  archway,  with  beautiful  entablature  above. 
The  cylindrical  vault  rests  upon  the  top  of  the  arcade. 
A glance  will  reveal  the  mode  of  decoration.  The  great 
piers  are  adorned  with  paneled  pilasters.  The  broad 
arches  of  the  nave  are  coffered ; so,  also,  is  the  ceiling. 

22 


338  Ecclesiastical  Architecture. 

§ The  Domical  Aisle=bay.  Each  aisle-bay  of  St. 
Peter’s  (Fig.  241)  is  primarily  a light-aperture  for  the 
nave ; for  the  aisle-bay  is  a dome-vaulted  compartment 
of  the  same  height  as  the  nave.  There  is  a gallery  and 
a clerestory  in  this  aisle-bay,  and  a doorway  from  one 
bay  to  another.  Tight  pours  down  into  this  bay,  and 
the  lofty  archway  of  the  nave  gives~it  unobstructed  en- 
trance into  the  church.  The  interior  of  St.  Peter’s 


Fig,  241. 


INTERIOR  OF  ST.  PFTFR’S,  ROME. 


makes  one  feel  as  if  the  garments  of  a palace  were  hung 
on  the  walls  of  a church,  banishing  therefrom  that  sacred 
mantling  which  priest  and  layman  had  made  honorable 
in  Romanesque  and  Gothic  times. 

§ Nave  with  Gallery  and  Cylindrical  Vaulting. 

The  nave-bay  of  the  Chapel  of  Versailles  (Fig.  242)  is 
bipartite,  consisting  of  an  arch  upon  square  piers,  and  a 


Renaissance  Style. 


339 


portion  of  an  upper  colonnade  between  two  columns. 
The  architrave  above  the  columns  supports  the  cylin- 
drically  vaulted  ceiling.  The  choir  is  semicircular,  and 

Fig.  242. 


CHAPEL,  AT  VERSAHJ.es,  PARIS. 


its  bays  are  bipartite,  like  the  nave.  This  place  is  a 
latial  room,  consecrated  to  religious  use. 

§ Decorations  of  the  Nave=arcade  and  Colonnade. 

The  square  piers  of  the  arcade  (Fig.  242)  present  at- 


340 


Ecclesiastical  Architecture. 


tractive  surface  for  panels  with  artistic  designs.  The 
broad  face  of  the  arch  is  treated  as  the  roof,  and  beau- 
tifully coffered.  The  arch-spandrels  have  statuary  set 
in  them.  The  cornice  and  gallery -balustrade  make  the 
horizontal  termination  of  the  lower  arcade.  Beautiful 
composite  columns  and  a splendid  architrave  adorn  the 
upper  colonnade.  Then  there  is  seen  between  its  col- 
umns the  paneled  flat  ceiling  of  the  gallery,  and  above 
the  architrave  the  ornamented  cylindrical  ceiling  of  the 
nave.  All  this  would  make  a wonderful  covered  court 
for  a palace ; yet  all  this  is  a Roman  Catholic  Church. 
The  altar  is  in  the  choir,  but  the  blaze  of  the  “ glory  ” 
behind  it,  and  the  angels  before  it,  kneeling  down  in  its 
overpowering  light,  are  all  spectacular,  theatrical,  and 
not  conducive  to  holy  meditation.  The  choir-windows 
encompass  a cross  and  crown,  yet  such  a cross  in  form 
as  might  dangle  from  a court  lady’s  neck  to  increase  her 
artificial  charms.  The  arched  ceiling  above  the  nave  is 
adorned  with  paintings  of  the  best  modern  artists,  and 
contributes  greatly  to  the  surprises  of  this  interior. 

§ Cylindrical  Vaulting  with  Discontinuous  Archi= 
trave.  This  type  is  the  Renaissance  hall-church.  St. 
Martin’s-in-the-Fields,  Fondon  (Fig.  243),  is  an  excel- 
lent example.  Its  nave-bay  is  bipartite,  having  aisle- 
openings  and  gallery ; the  ceiling  is  a cylindrical  vault. 
The  construction  of  this  nave  is  most  remarkable.  Tall, 
slender  columns  space  the  nave  into  bays.  From  their 
summit  are  sprung  longitudinal  and  transverse  arches, 
which  are  used  as  ribs  for  the  vaulting,  and,  by  skillful 
contrivance,  the  nave  is  covered  with  a ribbed  cylin- 
drical vault.  The  architrave  is  discontinuous.  A hori- 
zontal beam  with  cornice  is  set  in  the  columns  about 
midway  of  their  height,  and  a gallery  with  a balustrade 
is  built  from  these  beams  to  the  walls  of  the  church. 


Renaissance  Style. 


34  i 


§ Decoration  of  the  Ribbed  Cylindrical  Vault.  Gen- 
erally the  same  mode  is  followed  which  is  present  in  the 
cylindrical  vaulting  of  St.  Peter’s,  at  Rome.  There  the 
vaulted  rooms  on  the  side  poured  in  the  light  to  the  nave, 
and  the  beauty  of  the  side-galleries,  as  seen  through 
the  great  arches  of  the  nave,  enhanced  greatly  the  at- 
tractiveness, as  well  as  the  impressiveness,  of  the  nave. 


Fig.  243. 


CHURCH  OF  ST.  MARTIN’S-IN-THE-FIEEDS. 


Here  the  domical  vaults  (Fig.  243)  over  the  bays  of  the 
side-aisles  are  seen  from  the  nave,  and  these  domical 
vaults  are  so  brought  into  view  that  they  appear  but 
one  part  of  the  great  ceiling  above  the  hall-church.  It, 
of  course,  is  expected  that  the  details  of  this  ceiling 
decoration  should  vary  according  to  the  taste  of  the 
time.  Sometimes  ornament  was  lavished  excessively 
everywhere  on  the  surface ; at  other  times  ornament  was 
simple,  modest,  if  not  ecclesiastical,  revealing  a love  for 
the  beautiful  apart  from  all  religious  associations. 


342 


Ecclesiastical  Architecture. 


§ The  Nave=arcade  with  Domical  Vaults.  The 

nave  of  St.  Paul’s,  Tondon  (Fig.  244),  is  interesting,  not 
alone  for  the  masterly  handling  of  the  elements  which 


Fig.  244. 


CHOIR  OF  ST.  PAUL’S,  LONDON. 


enter  into  its  construction,  but  because  it  brings  back 
into  use  the  earliest  form  of  bay  found  in  ecclesiastical 
architecture.  This  bay  is  the  Basilican,  and  is  tripartite, 
consisting  of  the  nave-arch,  the  wall-space  above,  con- 


Renaissance  Style. 


343 


verted  in  the  Byzantine  and  Romanesque  styles  into  a 
gallery,  and  in  the  Gothic  style  into  the  triforium.  The 
highest  part  of  the  bay  is  the  clerestory.  The  Renais- 
sance architect  changed  the  ratio  which  existed  between 
the  individual  parts  in  the  basilicas,  substituted  piers 
with  beautiful  side-pilasters  for  columns  as  the  supports 
of  arches,  placed  a magnificent  architrave  above  the 
arches,  which  the  Basilican  architects  had  almost  dis- 
carded, and  increased  the  height  of  the  clerestory,  adorn- 
ing it  with  windows  of  graceful  proportions.  The  dom- 
ical vaults  over  the  nave  rested  on  transverse  and  longi- 
tudinal arches.  The  soffits  of  the  cross-arches  were 
adorned  with  such  forms  as  harmonized  with  the  orna- 
ments of  the  capitals  and  the  architrave.  The  dispo- 
sition of  all  these  beautiful  forms  was  skillfully  accom- 
plished, and  the  edifice  may  be  justly  esteemed  as  a 
magnificent  architectural  creation.  The  central  dome 
above  the  crossing  throws  a wonderful  effulgence  of 
light  upon  the  classical  splendors  of  the  interior.  But 
as  a place  of  worship,  instinct  everywhere  with  sugges- 
tions of  'the  Christian  faith,  this  church  is  a colossal 
failure.  More  and  more  the  English  people  are  convert- 
ing it  into  a splendid  mausoleum  for  the  interment  of 
their  mighty  dead,  whether  the  heroes  be  those  of  war 
or  those  who,  in  peace,  wrought  great  good  for  the  na- 
tion. St.  Paul’s,  as  the  tomb  for  the  great  among  a 
nation’s  dead,  is  a noble  monument ; as  the  embodiment 
of  the  religious  aspirations  of  the  great  Christian  Eng- 
lish nation,  the  Cathedral  of  St.  Paul  is  strikingly  defi- 
cient. Its  classic  splendors  would  be  now  a beautiful 
frame  for  the  Christian  art  of  modern  England.  The 
recent  religious  painting  of  England  is  of  the  highest 
order,  and  some  of  her  artists’  work  in  the  open  spaces 
of  St.  Paul’s  would  be  a merited  recognition  of  their 
genius,  and  endear  this  cathedral  to  Christian  thought. 


344 


Ecclesiastical  Architecture . 


D.  THE  PERIODS  OF  THE  RENAISSANCE  STYLE. 

(i)  KARXY  RENAISSANCE. 

§ Early  Renaissance.  This  period  is  included  be- 
tween 1450  and  1500.  Italy  was  the  garden-spot  in  which 
the  new  architecture  first  grew  and  blossomed.  Soon 
other  lands  gave  fertile  soil  for  the  new  art.  It  was  an 
architecture  of  palaces  rather  than  churches.  It  appealed 
to  the  luxurious  demands  of  wealth  rather  than  to  the 
spiritual  needs  of  religion.  Hence  the  neglected  beau- 
tiful forms  amid  the  ruins  of  ancient  Rome  became 
precious  legacies  to  the  early  Renaissance  architect. 
Churches  received  additions,  executed  under  the  inspira- 
tion of  this  love  for  classical  Rome.  The  chapels  and 
tombs  within  the  church,  the  choir  and  western  fagade 
without,  were  adorned  with  new  beauty  owing  to  the 
introduction  of  classical  forms  and  decoration.  Yet 
there  was  no  imitation.  Resemblance  alone  was  sought. 
Hence  the  early  Renaissance  is  more  independent  and 
original  than  the  perfected  period.  The  designs  on  cap- 
itals involved  leaves  and  volutes;  but  these  were  not 
imitative  of  Corinthian  capitals.  Friezes  were  carved 
with  innumerable  forms,  as  delicate  in  their  execution 
as  if  wrought  out  in  silver.  Sculpture  was  at  its  best  in 
this  period. 

§ The  Early  Renaissance  Dome.  Italian  Gothic  has 
its  finest  example  in  the  Cathedral  of  Florence  (Fig. 
245).  The  citizens  instructed  its  architect  to  surpass 
all  other  cathedrals.  The  aim  was  the  highest,  the 
achievement  most  remarkable.  Externally,  omitting 
the  campanile  and  dome,  the  edifice  is  a Romanesque 
structure  with  Gothic  features.  The  campanile  is  a 
beautiful  Gothic  tower,  adorned  in  the  Italian  Gothic 
style,  with  surfaces  so  richly  inlaid  that  they  seem  to  be 


Renaissance  Style. 


345 


a Gothic  mosaic.  Giotto,  the  architect,  intended  it  to  be 
completed  with  a spire.  The  magnificent  dome  above 
the  choir  was  designed  by  Brunelleschi,  and  built  in  the 
period  of  1421  to  1436.  No  dome  in  the  world  has  so 
great  magnitude,  and  Michael  Angelo  could  conceive 
nothing  more  magnificent,  and  so  imitated  it  when  he 
placed  in  St.  Peter’s  his  lofty  dome  above  the  crossing. 


Fig.  245. 


CATHEDRAL  AT  FLORENCE- 

This  remarkable  dome  is  considered  a Renaissance  struc- 
ture, inspired  by  the  study  of  the  remains  of  ancient 
Rome.  The  dome,  as  the  roof  over  a large  space,  was 
first  built  by  these  magnificently  daring  Romans,  but 
further  than  this  fact,  this  dome  of  Brunelleschi  owes 
nothing  to  the  Romans,  or,  at  least,  nothing  more  than 
the  nave  of  the  church  owes  to  classical  architecture. 
This  dome  is  simply  a magnificent  groined  vault,  with 
an  astonishing  height.  The  ribs  are  buttressed  by  great 


346 


Ecclesiastical  Architecture . 


piers  around  the  sides  of  the  dome.  Therefore,  the 
structure  is  Gothic  in  the  principles  which  govern  its 
erection.  The  ribbed  vault  was  used  above  the  crypt  in 
the  Latin  basilica ; the  architects  of  the  Romanesque 
basilica  placed  this  ribbed  vault  above  the  side-aisles; 
Gothic  architects  made  the  ribbed  vault  to  roof  the 
nave;  Brunelleschi  lifted  the  ribbed  vault  from  within 
the  church  and  placed  it  as  the  exterior  roof  above  the 
choir,  giving,  at  the  same  time,  a new  architectural  char- 
acter to  this  form  of  structure.  This  new  use  was  in- 
spired by  the  spirit  of  the  Renaissance. 

§ Early  Renaissance  Front.  There  was  not  vigor 
enough  in  the  early  Renaissance  to  construct  edifices 
which  had  in  their  structure  nothing  reminding  worship- 
ers of  those  churches  which  were  erected  in  the  Middle 
Ages.  Yet  it  did  dare  to  reconstruct  and  ornament  the 
fagade  wholly  in  conformity  to  classical  principles  and 
taste.  The  fagade,  and  also  the  dome  of  the  Certosa  at 
Pavia  (Fig.  246),  present  the  finest  of  examples,  show- 
ing how  completely  the  classical  ideas  had  obtained  pos- 
session of  the  public  mind.  This  Renaissance  front  is 
a screen  before  the  church,  having  a partition  of  its  sur- 
face into  divisions  by  means  of  buttresses,  after  the 
fashion  which  was  employed  in  the  screen  before  the 
Church  of  St.  Mary’s  (vide  Fig.  190),  at  Brandenburg. 
Here,  however,  the  resemblance  to  a Gothic  form  ceases. 
All  else  is  classical.  The  treatment  of  the  partitioning 
buttresses  is  to  be  first  considered.  Each  buttress,  ex- 
cept the  corner  ones,  is  practically  composed  of  two 
square  columns,  one  above  the  other,  thus  dividing  the 
screen  into  two  stories.  The  lower  one  is  the  more 
massive.  Mouldings  are  on  these  buttresses,  indicating 
the  pedestal,  the  capital,  and  the  string-course  between 
the  upper  and  lower  story.  Statuary  are  set  in  these 


Renaissance  Style . 


347 


square  columns.  The  spaces  between  these  buttresses 
are  next  to  be  considered.  The  central  space  is  occu- 


Fig.  246. 


CERTOSA  at  PAVIA. 


pied  by  the  portal.  Pier-columns,  with  engaged  decora- 
tive columns,  make  the  door-posts.  The  architrave  is 
hollowed  below  into  a round  arch.  Above  is  an  arcade. 


348  Ecclesiastical  Architecture. 

The  second  and  upper  division  of  the  portal  consists  of 
square  columns,  supporting  a pediment ; within  the  col- 
umns is  a circular  window.  The  upper  termination  is 
an  arcade.  It  is  to  be  observed  that  this  arcade  is  in 
reality  a classical  colonnade,  with  arches  built  under  the 
architrave.  There  is  not,  therefore,  a single  Gothic  or 
Romanesque  feature  in  this  division  of  the  facade.  All 
is  Renaissance.  The  treatment  of  the  window-aperture 
is  all  that  need  occupy  attention  in  the  other  perpendic- 
ular divisions  of  this  fagade.  The  lower  window  is  a 
rectangular  opening  between  pier-columns  with  lintel 
and  a heavy  cornice.  Above  this  cornice  are  sculptured 
forms.  The  window  of  the  second  story  is  similar,  ex- 
cept that  a semicircular  gable,  not  a cornice,  completes 
it  above.  Each  window  is  bipartite,  and  contains  round 
arches.  Likewise  we  notice,  in  connection  with  the 
windows,  a complete  abandonment  of  all  previous  win- 
dow-forms and  ornamentation.  The  cupola  cbove  the 
crossing  makes  no  pretentious  claim  to  notice ; but  one 
feature  is  to  be  observed,  as  indicating  how  Gothic  forms 
often  suggested  structural  features  in  this  early  period. 
The  base  of  the  cupola  is  composed  of  successively  de- 
creasing polygonal  stories,  like  the  tower  for  the  Gothic 
spire ; yet  these  stories  are  classical  colonnades  of  dif- 
ferent height,  wherein  not  the  arch,  but  the  architrave, 
appears. 

§ Early  Renaissance  Choir,  The  choir  of  St.  Pierre, 
in  Caen  (Fig.  247),  is  our  example.  This  choir  is  Gothic 
in  its  several  constructive  parts  and  in  its  ornamental 
divisions.  The  form  of  buttress  is  familiar,  being  sim- 
ilar to  those  slender  buttresses  which  were  employed  in 
the  later  Gothic  styles.  The  balustrade,  with  a finial 
above  it,  is  a Gothic  construction.  But  the  Renaissance 
has  touched  every  part  with  change,  transforming  the 


Renaissance  Style . 


349 


whole  impression  of  the  choir-fagade.  The  horizontal 
divisions  are  made  most  prominent;  the  window  is 
circular  in  the  clere-  F|g  247 

story.  The  finials  are 
not  pyramidal,  as  in  the 
Gothic,  but  ornamented 
posts,  while  the  gar- 
goyles seem  to  furnish 
a great  variety  of  the 
animal  head.  Relief  or- 
n ament  of  scroll  and 
vine,  entwining  forms, 
suggestive  of  man, 
beast,  and  bird,  are  in 
the  spandrels  of  the  arch 
and  in  the  frieze-bands. 

All  this  variety  is  clas- 
sical, originating  in  a 
time  when  the  artist 
took  nature’s  forms  and 
modified  them  in  order 
to  add  attractiveness  to 
his  edifices.  But  this 
spirit  is  vastly  different 
from  that  of  the  Gothic 
artists,  who  took  na- 
ture’s forms  and  placed 
them  in  his  cathedrals,  reverently  believing  that  they 
showed  forth  the  handiwork  of  the  Creator. 


CHOIR  ST.  PIERRE. 


§The  Early  Renaissance  Church.  A distinctively 
Renaissance  edifice  is  the  Church  of  S.  Maria  della 
Croce,  at  Crema  (Fig.  248).  It  is  not  meant,  by  giving 
this  church  as  an  example,  that  there  are  many  of  sim- 
ilar type,  but  simply  that  the  whole  spirit  of  the  building 


35o  Ecclesiastical  Architecture. 

is  classical,  and  that  it  is  one  of  the  earliest  churches  in 
which  classical  constructive  principles,  as  well  as  class- 
ical modes  of  adornment,  dominate  every  part.  The 


Fig.  248 


ST.  MARIA  DEIXA  CROCE. 


church  is  a central  circular  structure  with  four  arms  at- 
tached thereto.  The  cylindrical  center  is  builded  by 
means  of  stories,  after  the  manner  of  the  Roman  Coli- 
seum ( vide  Fig.  23).  A low  roof  covers  this  part.  The 
arms  make  transepts,  entrance,  and  choir.  It  is  a 


Renaissance  Style. 


35i 


strange  and  new  form  for  a church.  The  instructive- 
ness of  this  building  is  mainly  in  the  fact  that  it  shows 
how  the  trend  was  to  develop  an  architecture  for  the 
Renaissance  church  entirely  unlike  those  of  the  Middle 
Ages. 

(2)  PERFECTED  RENAISSANCE. 

§ Perfected  Renaissance.  The  highest  development 
of  the  Renaissance  style  was  accomplished  in  the  six- 
teenth century.  The  ecclesiastical  building  during  this 
period  lost  all  resemblance  to  the  mediaeval  basilicas  and 
cathedrals.  The  Renaissance  church  is  the  representa- 
tive of  a practically  independent  architectural  creation. 
The  dome  of  Brunelleschi,  the  temple  porticoes  of  an- 
cient Rome,  the  employment  of  the  classical  columnar 
orders,  constituted  the  three  most  important  structural 
peculiarities  in  the  new  style.  The  work  of  Vitruvius 
upon  the  Architecture  of  the  Ancients  furnished  the 
precepts  for  Palladio,  who  excelled  in  his  handling  of  ‘ 
the  columnar  arrangement  at  entrances.  Palladio  and 
the  classical  portico  for  churches  are  quite  inseparable 
thoughts  in  the  architecture  of  the  Renaissance.  Vig- 
nola, in  this  century,  championed  the  movement  which 
imitated  closest  the  classical  models.  He  produced  a 
work  on  the  five  columnar  orders  of  antiquity,  which  is 
an  authority  unto  this  day.  But  Michael  Angelo  was 
the  commanding  genius  of  this  period,  and  his  works 
became  types  which  have  reappeared  very  often  in  later 
times. 

§ The  Type  of  Palladio.  The  Latin  basilica  was  a 
long,  gable-roofed  colonnade  as  a central  structure,  but- 
tressed on  the  sides  with  shed-roofs.  The  Byzantine 
basilica  was  a central  domical  structure,  buttressed  by 
an  inclosing  square  with  roofs,  having  slight  pitch,  like 


352 


Ecclesiastical  Architecture. 


those  of  classical  buildings.  The  roof,  therefore,  is  not 
conspicuous.  The  clerestory  is  an  essential  of  the  Latin 


Fig.  249. 


basilica.  Palladio 
made  the  Latin  ba- 
silica his  fundamen- 
tal form,  and  pro- 
duced a new  type  by 
modifications  at  the 
porch  and  in  the 
roofing.  The  Church 
of  St.  Savior’s,  at 
Venice  (Fig.  249),  il- 
lustrates his  type. 
The  porch  is  like 
the  portal  of  a class- 
ical  temple.  The 
clerestory  is  made 
by  the  three  domes 
over  the  nave.  The 
Church  of  S.  Maria 
della  Salute,  at  Ven- 
ice, is  a beautiful 
variation  of  this 
type,  having  two 

ST.  SAVIOR’S,  VENICE;.  j . 

domes  to  cover  the 
nave  instead  of  three.  The  portal  feature  of  the  Palladio 
church  was  that  most  widely  copied. 


§ Type  of  Michael  Angelo.  The  Byzantine  basilica 
was  the  fundamental  form  which  Michael  Angelo  re- 
tained in  thought  when  he  was  called  to  complete  St. 
Peter’s  at  Rome.  Bramante  had  projected  the  new  edi- 
fice, which  was  to  be  the  throne  of  the  Pope,  after  that 
splendid  St.  Sophia,  which  had  been  the  glory  of  the 
Greek  Christians  for  almost  a thousand  years.  Angelo 


Renaissance  Style. 


353 


retained  the  form  of  the  Greek  cross,  and  then  developed 
that  new  type  among  the  perfected  Renaissance  edifices 
which  the  Cathedral  of  St.  Peter’s  embodies.  His  plan 
was  simple,  his  structure  gigantic.  The  main  feature  of 
the  building  (Fig.  250)  was  the  dome  above  the  crossing. 
The  mode  of  its  construction  was  borrowed  from  the 


Fig.  250. 


ST.  PETER’S,  ROME. 

dome  of  Brunelleschi,  at  Florence.  The  magnitude  of 
its  proportions  was  adopted  from  the  wonderful  Pan- 
theon of  ancient  Rome.  Four  small  domes  were  placed 
at  the  angles  of  the  cross.  Walls  then  were  made  to 
inclose  the  square.  There  were  lower  and  attic  stories, 
having  window-openings  modeled  after  the  classical 
forms  of  the  Renaissance,  and  porticoes  like  those  be- 
fore the  ancient  temples.  Angelo  lived  to  complete  the 
drum  of  the  dome  ; yet  he  left  a model  of  the  dome,  in 
accordance  with  which  it  was  completed.  When  the 
fagade  was  to  be  added,  Paul  V directed  that  the  nave 


354  Ecclesiastical  Architecture. 

be  prolonged,  converting  thus  the  plan  of  the  church 
into  the  form  of  a Tatin  cross.  One  has  said  “ that  this 
grand  basilica  is  the  seat  of  a power  to  which  the  throne 
of  the  Caesars  was  but  a shadowy  toy.”  The  approach 
to  this  noble  edifice  is  majestic.  The  lofty  colonnades 
of  Bernini  sweep  toward  the  edifice  in  a magnificent 
semicircle.  Central  in  this  circle,  surrounded  by  col- 
umns, is  an  obelisk  one  hundred  and  thirty  feet  high, 
the  gift  of  Egypt.  Here  are  splendid  fountains,  whose 
sparkling  waters  fall  into  gigantic  basins  of  porphyry. 
Beyond  is  the  dome,  in  diameter  one  hundred  and  thirty- 
eight  feet,  in  altitude  four  hundred  and  thirty-five  feet. 
The  cupolas  about  the  drum  elsewhere  would  be  of  im- 
posing magnitude.  As  one  passes  beyond  the  obelisk, 
there  begins  to  dawn  upon  him  the  wonderful  size  of  the 
structure.  The  portico  impresses  with  its  greatness  as 
soon  as  the  dome  is  lost  to  sight.  Columns  here  are 
found  ninety-three  feet  in  height  and  nine  feet  in  their 
diameter.  Statues  are  seen  on  the  upper  termination  of 
the  facade,  representing  Christ  and  the  College  of  the 
Apostles  ; each  statue  is  no  less  than  nineteen  feet  in 
height.  This  church  is  St.  Peter’s,  an  edifice  pagaji  in 
all  of  its  outward  seeming,  yet  made  the  shrine  for  the 
most  ancient  of  Christian  traditions,  and  the  throne  of 
the  mightiest  ecclesiastical  potentate  that  has  grown  up 
within  the  history  of  Christendom. 

§ Interior  of  St.  Peter’s.  Beneath  the  dome  (Fig. 
251)  one  must  stand  if  he  would  comprehend  the  vast- 
ness of  this  sacred  hall,  equaled  in  size  by  no  similar 
structure  of  the  human  hand.  The  eye  pauses,  in  its  look 
upward,  first  at  the  colossal  symbols  of  the  Four  Gospels 
in  the  dome-pendentives ; then  it  reads  the  inscription, 
wrought  in  the  magnificent  frieze:  “Tu  es  Petrus , et 

super  hanc  petram  cedificabo  ecclesiam  meam , et  tibi  dabo 


Renaissance  Style. 


355 


claves  regni  ccelorumS  which,  being  interpreted,  is. 
“ Thou  art  Peter,  and  upon  this  rock  I will  build  my 
church,  and  to  thee  I will  give  the  keys  of  the  kingdom 
of  heaven.”  Upward  still  the  eye  climbs  by  the  circle 
of  classical  windows,  glances  between  the  ribs  of  the 
dome,  where  are  beautiful  mosaics,  and  pauses  when  it 
reaches  the  lantern  of  this  matchless  dome.  Scarcely 
less  impressive  than  this  view  of  the  dome  is  the  sight 


Fig.  251. 


INTERIOR  OF  ST  PETER’S. 

of  the  four  vistas,  which  the  transepts  and  the  nave 
with  the  choir,  presents.  Pavements  of  variegated  mar- 
bles, vaults  golden  with  starry  splendors,  bold  entabla- 
tures on  magnificent  Corinthian  pilasters,  make  most 
wonderful  surprises  along  each  of  these  opening  vistas. 
But  the  look  down  the  apse,  a distance  of  one  hundred 
and  sixty-four  feet,  produces  the  climax.  Here  is  the 
presbyterium,  the  chair  of  St.  Peter,  behind  which  is  the 
“glory,”  a golden  sun  surrounded  with  masses  of  orange- 
colored  clouds,  wherein  are  seen  basking  the  hallowed 


356  Ecclesiastical  Architecture . 

faces  of  heavenly  cherubs.  Place  in  their  chairs  along 
the  presbyterium  the  members  of  the  sacred  college, 
each  in  gorgeous  apparel,  and  in  the  chair  of  St.  Peter, 
the  Pope,  in  his  robes  of  splendor ; then  let  the  sunlight 
touch  into  brightness  the  “glory”  behind  them,  the 
scene  becomes  one  of  unparalleled  barbaric  splendor. 

§ Features  of  the  Perfected  Renaissance.  There 
was  in  this  period  a complete  severance  from  mediaeval 
architecture.  Classical  forms  usurped  the  place  of  ec- 
clesiastical models.  The  facades  were  walls,  having 
horizontal  divisions,  effected  through  string  courses  and 
prominent  cornices ; perpendicular  divisions,  effected 
through  the  pilaster  and  engaged  columns.  The  portal, 
with  its  ample  arch,  gave  way  to  the  portico  with  its 
architrave,  cornice,  and  pediment ; the  arched  window 
was  supplanted  by  the  window-post  and  lintel,  with  the 
pediment  above.  Not  the  tower  and  spire,  but  the  com- 
manding dome,  claimed  attention  as  the  dominant  ex- 
ternal attraction.  Interiors  were  splendid  colonnades, 
wherein  reappeared  the  columnar  forms,  such  as  Greece 
and  Rome,  in  palmy  days,  had  originated  and  developed. 
The  cylindrical  vault  roofed  the  whole  nave,  or  else  the 
bays  of  the  nave  were  covered  by  domical  vaults.  Col- 
umn and  architrave,  frieze  and  cornice,  abounded  in  rich- 
est of  sculpturings.  Vines  and  flowers,  masks  and  shields, 
satyrs  and  hermes,  statuary  and  painting,  scrolls  and  pat- 
tern-work, were  combined  into  most  striking  decoration. 
They  call  all  this  mixture  the  banishment  from  our  daily 
walk  of  ascetic  sadness,  the  removal  from  among  us  of 
pessimistic  views  of  this  world-life  of  ours,  the  signs  of 
the  return  of  joy  and  gladness  to  modern  life.  Be  that 
as  it  may,  it  is  infinitely  inferior  to  the  signs  of  joy  and 
gladness  in  a Christian  faith,  which  appear  everywhere 
on  the  walls  of  the  noblest  mediaeval  cathedrals. 


Renaissance  Style . 


357 


(3)  EATE  renaissance;. 

§ The  Late  Renaissance.  The  period  of  time  in- 
cluded in  the  late  Renaissance  is  between  1600  and  1800. 
There  are  three  well-defined  movements  in  architecture 
during  these  two  centuries.  A style  called  the  Baroque, 
or  Rococo,  reigned  during  the  seventeenth  century. 
The  architecture  of  this  Baroque  style  differs  little  from 
that  of  the  perfected  Renaissance  so  far  as  the  mainte- 
nance of  classical  forms  is  concerned.  The  difference 
was  in  a complete  departure  from  the  judicious  employ- 
ment of  ornamental  forms,  substituting,  for  this  modera- 
tion, a prodigal  display  of  decoration.  From  1700  to 
1770  the  Jesuit  style,  a phase  of  the  Rococo  style,  dom- 
inated in  churches,  and  was  characterized  by  fanciful 
modes  in  decorative  matters,  and  by  a license  to  alter 
forms  according  to  the  caprices  of  an  oversatiated  public 
taste.  Civil  architecture  suffered  from  the  same  spirit 
of  license,  and  so  artificial  and  unnatural  were  these 
edifices,  or  at  least  prominent  features  of  them,  that 
later  times  have  traced  resemblances  between  them  and 
those  periwigs  and  pigtails  which  represented  the  cul- 
mination of  the  courtiers’  incessant  strivings  after  daz- 
zling effects.  The  Jesuit  style  in  ecclesiastical  architec- 
ture corresponds  to  the  periwig  and  pigtail  style  in 
civil  architecture.  When  the  intoxication  from  this 
spirit  of  license  passed  by,  men  became  obedient  to  law 
and  moderation,  but  only  such  as  pagan  architecture  had 
taught.  Then  men  returned  to  the  models  of  Greece 
and  Rome,  and  developed  the  Late  Classical  Revival. 

§ Metropolitan  Church,  Baroque  Style.  The  Church 

of  Val  de  Grace  was  erected  by  Anne  of  Austria,  con- 
sort of  Louis  XIII,  in  Paris,  about  1650,  as  a thank- 
offering.  The  plan  of  the  church  is  that  of  the  Latin 
cross.  The  nave  has  a clerestory  and  side-aisles  with 


358 


Ecclesiastical  Architecture. 


Fig.  252. 


their  roof  abutting  upon  the  nave-wall.  The  building 
^Fig.  252)  has  the  appearance  of  having  a wide  lower 

story  and  a narrow  up- 
per one.  It  is  the 
Gothic  basilica,  in 
which  every  principal 
part  is  fashioned  after 
the  manner  of  the  Re- 
naissance style.  The 
suggestions  of  Pal- 
ladio are  carried  out 
with  all  the  independ- 
ence of  a new  creative 
genius.  A portico  of 
Corinthian  columns, 
with  a beautiful  pedi- 
ment, constitutes  the 
entrance,  and  above 
this  structure  rises  the 
wall  before  the  clere- 
story, wherein  are  en- 
gaged composite  col- 
umns, bearing  a sec- 
ond pediment.  The 
buttresses  about  the 
drum  of  the  dome  are 
noteworthy.  The  pro- 
fusely ornate  character 
of  this  exterior  well 
exemplifies  the  excess 
of  the  Baroque  style.  The  interior  of  the  church  is 
in  harmony  with  its  decorative  exterior.  The  side- 
aisles  are  turned  into  a series  of  chapels,  opening  into 
each  other  and  into  the  nave.  Large  figures,  represent- 
ing the  Christian  virtues  in  alto-relievo,  are  set  in  the 


CHURCH  OF  VAX,  DE  GRACE. 


Renaissance  Style . 


359 


spandrels  of  the  nave-arches.  Circular  compartments  in 
the  pendentives  of  the  dome  have  figures  of  the  evan- 
gelists also  in  alto-relievo.  The  vault  of  the  dome  has 
fresco  painting  unequaled  elsewhere  in  France.  This 
church,  barring  its  excess  of  ornament,  is  one  of  the 
most  churchly  of  all  Renaissance  types. 

§ Parochial  Church,  Rococo  Style.  The  Church  of 
St.  Mary,  Woolworth,  Eondon,  built  in  1727,  exhibits 
in  its  small  compass 
the  extravagances,  as 
well  as  the  license,  of 
this  period  of  the  Re- 
naissance. The  body 
of  the  church  (Fig. 

253)  recalls  the  forms 
of  Egyptian  temples, 
because  of  its  high, 
solid,  gloomy  walls,  at 
the  corners  of  which 
are  tall,  pilaster-like 
columns.  The  lower 
portion  of  the  tower 
reminds  one  of  those 
Italian  palace-fronts, 
where  courses  of  un- 
hewn stones  were 
made  to  resemble  cor- 
ner-columns and  deco- 
rative  designs.  The  church  of  st.  mary,  woolworth. 

middle  portion  of  the  tower  would  make  an  exquisite 
rock-temple  tomb,  such  as  one  meets  in  walking  down 
the  Valley  of  Kedron,  under  the  walls  of  Jerusalem. 
And  the  two  small  upper  turrets  show  the  might  of  the 
spirit  which  animated  this  style;  for  the  Rococo  style 


Fig.  253. 


#q 


Ecclesiastical  Architecture. 


first  minified  existing  noble  forms,  and  then  set  these 
miniatures  together,  one  by  the  other,  without  any  re- 
gard to  harmony  of  structure.  This  Rococo  style  is  an 
architecture  most  theatrical  in  its  surprises.  The  Jesuit 
loved  it ; but  this  is  not  strange,  since  he  is,  above 
everything  else,  a superb  actor. 


§ Baroque  Decoration.  No  truth  is  more  commonly 
illustrated  in  ecclesiastical  architecture  than  that  de- 

Fig.  254.  cay  conimences 

so  soon  as  enthu- 
siastic love  of  any 
new  development 
becomes  sup- 
planted by  ability 
only  to  imitate 
and  beautify  ex- 
isting forms. 
Originality,  at 
these  times,  con- 
sists either  in 
multiplying  the 
number  of  the 
imitated  forms  or 
in  a 1 a w 1 e s s li- 
cense, which  ap- 
propriates any 
form,  and  places 
it  in  any  combi- 
nation, and  thus 
the  artist  defies 
any  rational  in- 
terpretation of 
his  arrrangement.  Baroque  decoration  is  not  displeas- 
ing where  redundancy  of  imitated  forms  appear.  The 


FROM  TOMB  OF  CARDINAL,  D’AMBOISE 


Renaissance  Style. 


361 


section  from  the  tomb  of  Cardinal  d’Amboise,  Rouen 
(Fig.  254),  presents  us  with  an  excellent  example.  In 
the  concave  of  the  canopy  we  see  a beautifully-coffered 
ceiling,  whose  geometrical  forms  are  very  attractive. 
The  cornice  above  is  ornamented  with  urns  and  cornu- 
copias, used  as  seats  or  as  playground  for  elfs  and  cupids. 
Niches  are  placed  above  this  cornice,  wherein  are  sym- 
bolical groups.  The  upper  termination  of  the  tomb  is 
an  architectural  bazaar  of  sculptural  ornamental  forms. 
Caprice  reigns  here  quite  supreme.  Statues,  conchoidal 
shapes,  scrolls,  interrupted  pediments,  flowers,  fairies, 
anything  that  can  be  beautified,  all  become  accessories 
to  the  decoration  of  the  Baroque  style.  All  this  display 
of  manifold  as  well  as  of  beautiful  ornament  may  justly 
challenge  attention  because  of  its  skillful  execution. 
But  its  condemnation  is  that  the  artist  sought  only  to 
win  admiration.  Beauty  alluring  to  great  truths  is 
eternal;  but  beauty,  appeased  with  admiration  is  as 
ephemeral  as  a butterfly- — a beauty  whose  days  are  few. 

§ Decoration  of  the  Jesuit  Style.  A portion  of  an 
arch,  taken  from  the  Jesuit  Church,  Rome  (Fig.  255), 
will  show  the  peculiarities  of  this  style.  It  is  to  be  no- 
ticed that  a combination  of  fresco  painting  and  statuary 
dominates  this  decorative  mode.  Observe  the  four  hu- 
man figures,  contorted  so  as  to  be  gracefully  squeezed 
into  their  assigned  places.  The  escalop  is  here  and 
there  wrought  into  the  design.  It  is  a symbol  connected 
with  Palestine,  but  little  else  here  savors  of  Christian 
associations.  The  great  aim  of  this  style  of  decoration 
was  to  turn  vaulting  surfaces  into  a kind  of  heavenly 
canopy,  resplendent  with  gold  and  blue.  The  divisions 
of  vaulting  surfaces  were  often  ignored  because  the  vault 
was  regarded  as  an  unbroken  whole,  and  made  the  back- 
ground for  a single  artistic  composition.  Sometimes 


362  Ecclesiastical  Architecture. 

sculpture  furnished  to  painting  a wing  or  an  arm,  in  or- 
der to  give  to  a fresco  more  realistic  appearance.  Hence, 

in  this  s t y 1 e we 
have  angel’s  wings 
or  arms  set  into  the 
wall,  and  about 
them  there  is  the 
blaze  of  color  and 
gilt.  Yet  the  deco- 
ration of  the  Re- 
naissance must  not 
be  judged  by  these 
extravagances;  for, 
although  its  deco- 
rations are  entirely 
separated  from  the 
great  associations 
inseparably  con- 
nected with  the 
decorations  of 
mediaeval  styles, 
yet  they  are  con- 
ceived under  the 
love  of  beauty  and 
symmetry,  and  ex- 
ecuted with  a pa- 
tience and  a skill  that  win  for  them  continued  and  abid- 
ing admiration. 


Fig.  255. 


FROM  JESUIT  CHURCH,  ROME. 


(4)  EATE  CEASSICAE  REVIVAE- 

§ Late  Classical  Revival.  The  close  of  the  eight- 
eenth century  witnessed  general  disgust  with  the  freaks 
and  lawless  fancies  of  the  Rococo  style.  The  cause  for 
the  change  was  profound,  being  the  growth  of  the  demo- 
cratic idea  as  a formidable  foe  to  the  monarchical  control 


Renaissance  Style. 


363 


of  civil  governments.  The  monarchists  of  the  Church 
were  the  Jesuits,  those  of  civil  governments  were  kings 
and  princes.  The  Rococo  edifices,  when  ecclesiastical, 
were  Jesuit  churches,  when  civil,  were  royal  palaces. 
The  public  mind  required  change  from  what  disgusted 
it,  and  so  was  diverted  by  the  erection  of  most  preten- 
tious buildings,  both  for  the  State  and  the  Church,  in  a 
style  which  offered  strongest  contrast  to  the  style  of  the 
late  Renaissance.  This  new  style  was  the  Tate  Classical 
Revival. 


Fig.  256. 


§ The  Pantheon  at  Paris.  This  edifice  was  designed 
and  built  for  a church  under  the  reign  of  Touis  XV, 
having  the  name  of  the  Church 
of  St.  Genevieve.  It  was  con- 
verted at  the  time  of  the  first 
republic  to  a Temple  of  Glory, 
and  received  the  name  of  Pan- 
theon. Since  then  it  has  been 
returned  to  the  Catholic  Church, 
and  has  resumed  its  original 
name.  The  plan  of  the  church 
(Fig.  256)  is  that  of  a Greek 
cross,  with  a splendid  portico  for 
the  main  entrance.  The  cross- 
ing is  covered  by  a beautiful 
dome,  and  there  are  smaller 
domes  in  the  arms  of  the  cross. 

A gallery,  extending  along  the 
walls  of  the  interior,  is  supported  by  Corinthian  pillars. 
Massive  piers  of  masonry  make  the  foundation  of  the 
dome.  These  piers  have  bronze  memorial  tablets  upon 
them.  The  dome  is  sixty  feet  in  diameter  at  the  gal- 
lery. The  fresco  work  in  its  great  concave  is  most  in- 
teresting. Immense  stone  vaults  on  Doric  columns  are 


PlyAN  OF  FRENCH 
PANTHFON. 


364  Ecclesiastical  Architecture . 

beneath  the  church,  where  the  illustrious  of  France  re- 
ceive final  resting-place.  The  exterior  of  the  Pantheon 
(Fig.  257)  will  present  features  which  belong  to  the  Ro- 


Fig.  257. 


PANTHEON,  PARIS. 


man  Revival,  and  should  be  compared  with  the  Made- 
leine ( vide  Fig.  240),  which  illustrates  the  Greek  Re- 
vival. The  portico  of  the  Pantheon,  extending  along 
the  whole  breadth  of  the  front,  has  in  it  six  fluted  Co- 
rinthian columns,  each  sixty  feet  in  height  and  six  feet 


Renaissance  Style. 


365 


in  diameter.  The  triangular  pediment  is  one  hundred 
and  twenty-nine  feet  in  breadth  and  twenty-five  feet  in 
height.  Thus  it  is  seen  that  the  building  is  colossal. 
The  composition  within  the  pediment  represents  France 
distributing  honors  to  her  illustrious  citizens.  The  cir- 
cular drum  of  the  dome  is  surrounded  by  a peristyle  of 
thirty-two  Corinthian  columns,  resting  upon  a stylobate. 
The  top  of  the  dome  above  the  pavement  is  two  hun- 
dred and  sixty-eight  feet.  This  noble  building  was  in- 
spired in  its  architecture  by  an  ardent  love  of  pagan 
and  ancient  Rome.  The  cost  was  defrayed  by  a lottery. 
The  revolution,  which  dethroned  and  beheaded  a king, 
and  made  God  a fiction  in  the  popular  mind,  took  this 
same  structure  for  a Pantheon,  and  here,  in  1791,  the 
Apotheosis  of  Voltaire  and  Rousseau — 110  friends  to  re- 
ligious thought — took  place.  Strange  origin  for  a Chris- 
tian Church,  strange  vicissitudes  for  a house  of  God ! It 
was  well  for  the  State  to  return  the  structure  to  the  Ro- 
man Catholic  Church;  for  now  God  will  be  recognized 
within  its  stately  precincts. 

§ St.  Paul’s,  London.  Thirty-five  years  of  labor, 
directed  by  one  architect  and  one  master-builder,  were 
crowned  with  most  distinguished  reward  when  St.  Paul’s 
stood  complete,  the  most  imposing  of  all  modern  struc- 
tures in  England.  The  exterior  (Fig.  258)  is  two-storied, 
and  of  the  Corinthian  order,  and,  by  its  symmetry  and 
beauty,  excels  the  charms  of  St.  Peter’s  at  Rome.  The 
lofty  dome,  whose  summit  is  three  hundred  and  sixty 
feet  above  the  pavement,  is  a most  worthy  compeer  of 
the  domes  belonging  to  the  French  Pantheon  or  the  Ro- 
man St.  Peter’s.  Mighty  buttresses  could  alone  give 
stability  to  this  domical  structure,  and  they  were  hidden 
behind  the  columns  and  walls  of  the  second  story.  The 
dome  externally  is  similar  to  that  above  the  Pantheon, 


366 


Ecclesiastical  Architeci  ure . 


Fig.  258« 


ST.  PAUL’S  CATHEDRAL,  LONDON. 


Renaissance  Style. 


3^7 

being  a magnificent  drum  surrounded  by  a beautiful 
peristyle,  and  upon  the  drum  rests  the  crown  of  the 
dome.  The  stone  lantern,  which  rises  above  the  dome, 
is  supported  by  a brick  cone,  which  is  built  centrally 
within.  The  western  fagade  is  a two-storied  classical 
portico,  flanked  by  towers.  Sculpture  was  employed  to 
beautify  column,  frieze,  and  pediment;  but  there  is  no 
attempt  to  produce  such  symbolical  groups  as  are  pres- 
ent in  the  French  Pantheon.  The  ground-plan  ( vide 
Fig.  233)  is  the  Gothic  cross,  being  narrow,  with  great- 
length  in  its  nave  and  choir  portions.  The  general 
mode  of  decoration  in  the  interior  (vide  Fig.  244)  is  after 
the  manner  of  the  Renaissance,  in  which  the  sculptured 
column,  architrave,  and  cornice  are  most  prominent. 
The  dome  covers  the  crossing,  roofing  the  space  occu- 
pied by  the  three  aisles  of  the  nave.  A tablet  is  to  be 
seen  over  the  north  door,  inscribed  with  these  words  : 
“ Lector , si  monumentum  requiris , circumspice .”  Stand- 
ing beneath  the  dome,  beholding  its  wonderful  construc- 
tion, feeling  the  greatness  of  the  mind  which  conceived 
this  edifice,  we  agree  with  the  Latin  inscription,  that 
the  building  is  the  most  fitting  monument  for  the  archi- 
tect. This  cathedral,  like  Westminster,  is  a national 
mausoleum.  Here  are  interred  the  remains  of  Welling- 
ton and  Nelson,  not  to  mention  the  names  of  other 
illustrious  dead,  who  rest  within  the  cathedral’s  shelter. 
Here,  too,  is  the  great  St.  Paul’s  bell  in  the  belfry, 
which  strikes  the  hours  in  the  daytime  and  in  the  night- 
time, beating  out,  with  its  warnings,  the  little  lives  of 
men.  When  citizens  die  the  hour  afterwards  is  struck 
upon  the  great  bell ; but  when  death  occurs  in  the  royal 
family,  the  bell  is  tolled,  and  its  deep,  solemn  voice  tells 
the  great  city  that  mourning  now  has  come  into  the 
heart  of  the  palace.  Mighty  are  the  thoughts  every- 
where uttered  by  these  great  Christian  cathedrals. 


368 


Ecclesiastical  Architecture. 


E.  RENAISSANCE  ARCHITECTURE  IN  EUROPE. 

§ In  Italy.  The  birthplace  of  the  Renaissance  archi- 
tecture was  under  the  Italian  skies.  The  numerous 
classical  monuments  of  ancient  Rome  and  of  Italian  Ro- 
man cities  favored  the  movement,  furnishing  great  sug- 
gestions to  the  architects  of  the  new  style.  But  freedom 
from  an  oppressive  ecclesiasticism,  and  the  joy  in  this 
new-found  liberty,  were  the  originating  powers.  Three 
great  cities  gave  names  to  the  three  prevailing  styles 
in  Italy.  Hence  we  have  the  Florentine,  Venetian,  and 
Roman  Renaissance.  Florentine  ecclesiastical  architec- 
ture has  splendid  monuments  in  the  dome  of  the  cathe- 
dral built  by  Filippo  Brunelleschi.  This  great  genius 
also  erected  the  Pazzi  Chapel,  the  churches  of  S.  Lo- 
renzo  and  S.  Spirito.  Other  artists  spread  this  Floren- 
tine style  in  Tuscany  and  Lombardy,  each  adding  his 
own  impress  on  the  works  directed  by  his  skill.  Venice, 
enthroned  in  the  midst  of  the  waters,  also  made  a style 
of  her  own.  Decoration,  perhaps,  constitutes  its  chiefest 
peculiarity.  Slender  pilasters  made  the  frame-work  for 
inlaid  marbles  and  delicate  carving.  Facades  were  built 
wherein  each  story  was  a beautiful  colonnade  with  finely- 
profiled  entablature,  and  the  spaces  between  its  columns 
were  filled  in  with  beautiful  arched  and  pedimented 
windows.  The  architecture  of  Venice  at  this  period 
abounded  in  beautiful  capitals,  scrolls,  wreaths,  and 
other  artistic  forms,  so  beautiful  that  they  seem  the  ap- 
propriate dress-ornaments  for  the  queen  of  the  sea.  The 
Roman  style  was  influenced  by  three  great  architects  so 
profoundly  that  three  schools  are  usually  pointed  out. 
Bramante  (1444-15 14)  founded  one  school.  This  artist 
formed  his  style  by  a careful  study  of  Roman  remains, 
and  conformed  closely  to  Roman  models.  The  Church 
of  S.  Lorenzo  in  Damaso,  and  the  original  designs  of 
St.  Peter’s,  are  his  best  works.  The  rectilinear  termi- 


Renaissance  Style. 


369 


nations  are  prominent  in  his  works,  but  he  fails  to  give 
the  grace  and  beauty  and  variety  which  are  present  in 
the  Northern  Italian  styles.  Vignola  (1507-1573)  estab- 
lished the  second  school,  which  was  characterized  by  a 
consistent  use  of  the  columnar  orders  and  by  a close  ad- 
herence to  classic  models.  Michael  Angelo  was  the 
founder  of  the  third  great  school  in  the  Roman  style. 
His  St.  Peter’s  influenced  later  Renaissance  styles.  Sim- 
plicity, dignity,  magnitude,  are  the  three  dominant  ideas 
in  the  Roman  style. 

§ In  France.  The  introduction  of  the  Renaissance 
architecture  into  France  was  accomplished  by  the  Valois 
dynasty,  and  its  perfection  was  attained  under  the  Bour- 
bon kings.  Francis  I returned  from  his  Italian  cam- 
paigns enriched,  at  least,  with  the  knowledge  of  the 
wonderful  Renaissance  works  in  Italy.  He  set  about  to 
rival  them  in  France.  The  churches  built  in  this  time 
show  that  the  Renaissance  did  little  more  than  furnish 
a new  mode  of  decoration  for  a building,  Gothic  in  its 
principles  of  structure.  St.  Kustache  and  St.  Etienne 
du  Mont,  both  in  Paris,  are  Gothic  in  construction,  and 
the  great  towers  and  imposing  portal  of  St.  Michel,  at 
Dijon,  show  mediaeval  shapes.  There  were  many  charms 
in  this  mixture  of  Gothic  forms  and  Renaissance  orna- 
mentation. When,  however,  the  Renaissance  spirit  suc- 
ceeded in  France  to  such  extent  as  to  banish  all  that 
was  mediaeval,  there  arose  a formal  classicism  which  had 
the  merit  of  being  an  importation  from  Italy,  and  so  was 
foreign  to  the  French  genius.  The  age  of  Eouis  XIV 
impressed  upon  the  Renaissance  architecture  the  results 
of  the  French  creative  spirit.  The  beautiful  domical 
churches  of  the  Invalides  and  Val-de-Grace  are  examples 
of  this  period.  The  decline  of  the  Renaissance  followed, 
and  w.e  have  all  the  extravagances  of  the  Rococo  style. 

24 


37o  Ecclesiastical  Architecture. 

§ In  England.  The  Tudor  style  was  transitional  to 
the  Renaissance  in  England.  The  Elizabethan  style, 
which  was  the  first  in  the  Renaissance  development,  was 
guided  by  foreign  architects,  especially  Italian,  and  it, 
like  the  Valois  style  in  France,  was  Gothic  forms  upon 
which  the  Renaissance  decoration  was  imposed.  The 
Jacobean  style  introduced  the  columnar  orders,  and 
made  the  buildings  more  of  the  type  of  classical  edi- 
fices, but  always  crudely  and  without  correct  judgment. 
Perfected  Renaissance  was  matured  in  the  last  of  the 
seventeenth  century,  so  far  as  civil  edifices  were  con- 
cerned. And  Wren,  in  the  eighteenth  century  reared 
the  noble  pile  of  St.  Paul’s,  a Renaissance  church  per- 
meated in  its  every  part  with  the  classical  spirit. 

§ In  Germany  and  Spain.  The  first  appearance  of 
the  Renaissance  in  Germany,  likewise,  was  marked  by 
the  fact  that  the  mediaeval  forms  were  obdurate,  and 
yielded  slowly  to  classical  principles.  There  are  often 
most  picturesque  effects  attained  in  the  German  Renais- 
sance churches  by  the  daring  combination  of  pointed  fea- 
tures with  the  most  extravagant  Rococo  ornamentation. 
The  Marien-Kirche  in  Wolfenbiittel  is  a good  example  of 
the  late  Renaissance,  and  the  Marien-Kirche  in  Dresden 
represents  an  excellent  Renaissance  domical  church. 
Spain  but  repeats  in  her  land  the  course  which  the  Re- 
naissance had  run  elsewhere.  The  new  movement  se- 
cured its  introduction  as  a new  mode  of  decoration. 
Then  columnar  orders,  as  essentials  to  structure,  ap- 
peared, banishing  the  pointed  arch.  In  surface-decora- 
tion the  Spanish  became  pre-eminently  skillful.  They 
curiously  fashioned  the  surface  of  a facade  or  of  a wall 
after  the  manner  of  a silversmith.  The  resemblances 
of  the  carved  work  and  its  arrangement  upon  surfaces 
to  the  patterns,  wrought  into  silver,  suggested  the  name 


37i 


Renaissance  Style. 

Plateresque  (silversmith-like;  as  the  appropriate  desig- 
nation for  this  style.  The  Cathedral  of  Jaen  was  the  first 
in  which  the  principles  of  the  Renaissance  building  en- 
tered into  the  whole  construction  of  a Spanish  church. 
The  Cathedral  of  Granada  is  especially  remarkable  for 
its  magnificent  domical  sanctuary.  The  latest  stages  of 
the  Renaissance  in  Spain,  as  elsewhere,  degenerated  into 
lawlessness  and  license  in  architecture,  wherein  all  ap- 
proved principles  of  ornamentation  were  violated,  and 
every  fantastic  extravagance  adopted  without  scruple. 

§ The  Renaissance  an  architecture  of  Princes.  The 

love  of  splendor,  the  pomp  of  wealth,  furnished  the  mo- 
tive power  for  the  Renaissance.  Its  blaze  of  ornament, 
like  the  mantling  of  a king,  astonished  and  awed  the 
mind  of  the  common  people.  The  house  of  God  and 
the  palace  of  a king  received  glory  through  the  same 
kind  of  decorative  vesture.  The  ministry  and  the 
memories  of  the  priest  could  offer  no  suggestion  to  Re- 
naissance architecture.  The  more  the  world  and  its 
wealth  obtruded  in  the  sanctuary,  the  better  the  church 
pleased  the  king  and  his  people  and  his  priests ; for  now 
the  law  was,  Tike  the  king  are  both  the  priest  and  the 
people.  The  Renaissance  satiated  the  nations  of  mod- 
ern times.  The  Church  and  the  State  tired  of  its  super- 
ficial attractions.  This  satiety  was  the  prophecy  of  the 
dawn  of  a new  day,  when  churches  should  be  rich  in  re- 
ligious associations  and  in  an  architecture  consonant 
with  the  great  past  of  Christianity ; for  to  understand 
the  Gothic  and  Romanesque  and  Basilican  churches  one 
must  know  his  Bible  and  the  history  of  the  Christian 
Church ; but  to  understand  the  Renaissance  church  one 
must  know  the  vanity  of  kings  and  princes  and  the  god- 
lessness of  a world-loving  clergy. 


Table  of  Renaissance  Churches* 


I.  IN  ITALY. 


PLACE. 

EDIFICE. 

PART. 

CEN- 

TURY. 

Bologna. 

Frati  di  S.  Spirito. 

All. 

XV. 

Florence. 

Cathedral. 

Dome. 

XV. 

Florence. 

Sta.  Croce. 

Pazzi  Chapel. 

XV. 

Florence. 

S.  Lorenzo. 

All. 

XV. 

Florence. 

S.  Spirito. 

All. 

XV. 

Florence. 

S.  M.  Novella. 

Facade. 

XV. 

Mantua. 

S.  Andrea. 

All. 

XV. 

Perugia. 

S.  Bernardino. 

Facade. 

XV. 

Prato. 

Madonne  della  Carceri. 

All. 

XV. 

Rimini. 

S.  Francesco. 

Rebuilt. 

XV. 

Rome. 

S.  Agostino. 

All. 

XV. 

Rome. 

S.  M.  del  Popolo. 

All. 

XV. 

Venice. 

S.  M.  dei  Miracoli. 

Marble-work. 

XV. 

Venice. 

S.  Zaccaria. 

Facade. 

XV. 

Genoa. 

S.  M.  di  Carignano. 

All. 

XVI. 

Montefiascone. 

Madonne  della  Grazie, 

All. 

XVI. 

Pistoja. 

S.  M.  dell’  Umilta. 

All. 

XVI. 

Todi. 

Madonne  della  Consolazione. 

All. 

XVI. 

Rome. 

St.  Peter’s. 

Most. 

XVI. 

Rome. 

Church  of  Gesu. 

Most. 

XVI. 

Venice. 

S.  Salvatore. 

All. 

XVI. 

Venice. 

S.  Georgio  Maggiore. 

Facade. 

XVI. 

Venice. 

S.  M.  della  Salute. 

All. 

XVII. 

Rome. 

S.  John  Lateran. 

East  Front. 

XVIII. 

Rome. 

S.  M.  Maggiore. 

Facade. 

XVIII. 

II.  IN  FRANCE. 

Caen. 

St.  Pierre. 

Choir.  * 

XVI. 

Dijon. 

St.  Michel. 

Facade. 

XVI. 

Paris. 

St.  Etienne  du  Mont. 

All. 

XVI. 

Paris. 

St.  Kustache. 

All. 

XVI. 

Paris. 

Chapel  of  Sorbonne. 

All. 

XVII. 

Paris. 

Invalides. 

All. 

XVII. 

Paris. 

St.  Paul  and  St.  Louis. 

All. 

XVII. 

Paris. 

Val  de  Grace. 

All. 

XVII. 

Paris. 

Madeleine. 

All. 

XVIII. 

Paris. 

Pantheon. 

All. 

XVIII. 

Paris. 

St.  Sulpice. 

All. 

XVIII. 

III.  IN  ENGLAND. 

Bloomsbury. 

St.  George’s. 

All. 

XVIII. 

London. 

St.  Mary’s. 

All. 

XVIII. 

London. 

St.  Martin’s. 

All. 

XVIII. 

London. 

St.  Paul’s. 

All. 

XVIII. 

London. 

St.  Stephen’s. 

All. 

XVIII. 

372 


Renaissance  Style, 


373 


IV.  IN  GERMANY. 


place:. 

EDIFICE. 

PART. 

CEN- 

TURY. 

Munich. 

St.  Michael. 

All. 

XVI. 

Wurtzburg. 

University  Church. 

All. 

XVI. 

Dresden. 

Marien-kirche. 

All. 

XVII. 

Wolfenbuttel. 

Marien-kirche. 

All. 

XVII. 

V.  IN  SPAIN. 

Granada. 

Cathedral. 

All. 

XVI. 

Jaen. 

Cathedral. 

All. 

XVI. 

Salamanca. 

Church  San  Domingo. 

All. 

XVI. 

Saragossa. 

Cathedral  del  Pilar. 

All. 

XVII. 

Santiago. 

Cathedral. 

All. 

XVIII. 

N.  B. — i.  Only  a few  important  churches  of  the  Renaissance  are  given,  to 
illustrate  the  different  styles. 

2.  The  part  indicated  is  the  most  conspicuous  as  an  example.  The 
word  “ all  ” means  the  edifice  generally. 


Chapter  X. 

ARCHITECTURE  OF  THE  MODERN  CHURCH. 

§ Modern  Religious  Life.  The  Christian  Church  of 
this,  our  century,  is  one  in  the  essentials  of  its  faith,  di- 
verse in  the  elements  of  its  polity.  The  Greek  Catholic 
Church  is  the  dominant  Christian  Church  body  in  the 
Orient.  The  Roman  Catholic  Church  is  a Christian 
body  claiming  universal  dominion,  but  is,  in  reality, 
only  a denomination  among  others  which  combine  to 
make  the  Christianity  of  the  Western  nations.  The 
Protestant  Catholic  Church  is  the  third  great  body  of 
modern  Christianity.  The  Greek  and  the  Roman  Cath- 
olic Churches  have  each  a polity  sanctioned  by  an  an- 
tiquity of  more  than  a thousand  years.  The  Protestant 
Catholic  Church  is  a composite  body,  having  within  it 
many  denominations  and  many  forms  of  Church  polity. 
Modern  Christian  life,  therefore,  is  a unit  only  in  the 
essentials  of  the  Christian  creed. 

§ The  Altar  and  the  Pulpit.  The  priest  and  the 
prophet  have  in  every  age  been  the  leaders  of  men  in 
their  movement  toward  the  Most  High  God.  The 
prophet,  rather  than  the  priest,  led  the  Christian  be- 
lievers during  the  planting  of  the  Christian  faith  in 
the  world  and  during  the  periods  of  the  early  fierce 
persecutions.  The  priest,  rather  than  the  prophet,  led 
to  the  establishment  of  the  Christian  faith  in  the  world 
as  a magnificent  religion,  which  surrounded  itself  with 
a splendor  that  far  outshone  the  royal  state  of  emperors 
and  kings.  The  priest  and  the  prophet  together  are 
the  world-messengers  who  have  established  Christian 
•374 


Modern  Styles . 


375 


worship  and  heralded  Christian  doctrine.  The  priest, 
rather  than  the  prophet,  is  the  dominating  idea  in  the 
Greek  Catholic,  the  Roman  Catholic,  and  the  Protestant 
Episcopal  Churches.  The  prophet,  rather  than  the 
priest,  is  the  controlling  idea  in  most  of  the  Protestant 
Catholic  Churches.  The  altar  is  most  emphasized  where 
the  priest  is  supreme;  the  pulpit  is  the  seat  of  power 
where  the  prophet’s  voice  is  the  leader  in  the  house 
of  God. 

§The  Altar  as  Central.  The  only  considerable  and 
important  development  of  ecclesiastical  architecture  in 
modern  times  is  to  be  found  among  the  English-speak- 
ing peoples.  Yet  not  England,  but  the  United  States, 
has  been  the  most  prolific  in  church  buildings.  Eng- 
land had  ample  church  accommodations  when  the 
United  States  had  but  very  few.  The  vast  growth  of 
our  population,  and  the  remarkable  increase  in  our  na- 
tional development  and  in  our  wealth,  were  also  ac- 
companied with  equally  remarkable  religious  awaken- 
ings, so  that  church  edifices  appeared  in  great  numbers ; 
not  cathedral  churches,  however,  but  churches  suited 
to  the  needs  of  small  congregations.  Hence  the  il- 
lustrations of  modern  ecclesiastical  styles  will  be  taken 
from  American  churches.  The  altar  is  made  cen- 
tral in  the  Roman  Catholic  and  Protestant  Episcopal 
Churches.  A study  of  the  plan  in  Fig.  259  will  reveal 
certain  marked  differences  from  those  church-plans 
which  we  have  already  considered.  The  building  is 
arranged  for  the  seating  of  worshipers.  No  provision 
is  made  for  numerous  aisle  and  choir  chapels.  The 
altar  is  not  intended  to  awe  one  by  the  splendid  vista 
opening  behind  it  in  the  choir.  The  parochial  church 
of  the  Middle  Ages  is  the  plan  essentially  for  the  mod- 
ern altar-church.  The  appropriate  designations  for  the 


376  Ecclesiastical  Architecture. 

parts  of  the  altar-church  are  the  nave,  including  all  the 
portion  before  the  chancel ; the  altar,  including  all  back 

Fig.  259. 


PLAN  ST.  LUKE’S  CHURCH,  JAMESTOWN,  N.  Y. 


of  the  chancel.  Roman  Catholic  churches  have  minor 
altars  at  the  end  of  the  side-aisles. 

§ Pulpit  as  Central.  The  Protestant  Churches,  ex- 
cepting the  Protestant  Episcopal  Church,  make  the  pul- 
pit central  in  worship.  Not  the  celebrating  of  a mass, 
nor  the  reading  of  a beautiful  liturgy,  but  the  hearing 
of  a sermon,  is  the  principal  feature  of  Protestant  wor- 
ship. The  plan  in  Fig.  260  presents  the  main  require^ 


Modern  Styles. 


377 


ments  for  the  congregation  and  the  preacher.  It  will  be 
seen  that  one  end  of  the  room  has  in  it  the  pulpit ; the 
central  portion  is  filled  with  the  body  of  pews.  There 
are  two  accessories  to  Protestant  church-life  for  which 
provision  has  to  be  made.  The  people  meet  for  prayer  ; 
the  children  gather  on  Sunday  for  instruction.  Hence 
the  Protestant  church-plan  has  a prayer-meeting  room 
and  a Sunday-school  room ; sometimes  one  room  (/) 


WEST  SPRUCE  BAPTIST  CHURCH,  PA. 


answers  for  both  purposes.  The  place  of  the  pulpit  in 
the  edifice,  or  the  position  of  the  prayer-meeting  room, 
determines  the  interior  arrangement  of  the  church,  and 
often  most  beautiful  effects  are  produced  by  new  and  at- 
tractive departures  from  the  earlier  church-plans. 

A.  DEVELOPMENT  OF  THE  PROTESTANT  CHURCH 
EDIFICE. 

§The  Meeting=house.  There  was  no  architecture, 
which  means  princely  building,  in  those  simple  shelters 
reared  to  protect  the  few  who  came  together  for  Chris- 


378 


Ecclesiastical  Architecture . 


tian  worship  in  the  first  American  settlements.  McKen- 
dree  Chapel  (Fig.  261)  is  the  first  Methodist  Episcopal 
Church  built  west  of  the  Mississippi  River.  It  is  a 
gabled-roofed  room,  not  unlike  the  houses  in  which  the 
earliest  settlers  in  the  Western  wilds  lived.  Yet  this 


Fig.  261. 


McKENDREE  chapel. 


structure  met  all  the  demands  of  Protestant  worship. 
The  pulpit  was  in  this  room,  the  congregation  gathered 
here  in  this  simple  house  of  God. 

§The  Modern  Nave  or  Ark  Type.  The  splendid 
architecture  which  grew  up  in  connection  with  those 
churches  wherein  the  altar-celebrations  dominate  over 
pulpit  expositions,  was  a most  fitting  accompaniment 
to  the  rich  decorations  of  the  altar  and  the  glowing  ves- 
ture of  the  priestly  celebrant.  There  was,  therefore, 
every  motive  from  the  form  of  service  connected  with 


Modern  Styles . 


379 


the  altar-liturgy  to  awake  longings  for  a noble  architec- 
ture. The  Protestant  pulpit  had  its  first  splendor  in  its 
noble  outcry  against  the  sins  of  the  people,  in  its  noble 
warnings  to  mankind,  in  its  noble  portrayals  of  the 
mercy  and  love  of  God.  The  desire  for  a beautiful 
architecture  in  the  Protestant  churches  grew  out  of 
those  feelings  which  prompt  men  to  adorn  their  homes, 


Fig.  262. 


OLD  BRICK  METHODIST  EPISCOPAL  CHURCH. 


improving  them  in  order  to  show  the  delight  men  and 
women  have  in  these  sacred  places.  The  house  of  God 
was  the  home  of  the  people ; the  minister  was  prophet 
and  shepherd.  There  were  in  the  earliest  development 
of  the  Protestant  pulpit-church  but  few  requirements. 
The  struggle  was  for  existence  against  the  ritual-loving 
Churches.  The  first  attempts  at  architectural  effect  be- 
gan with  simple  architectural  adornment.  The  front  of 
the  church  received  architectural  features.  The  Old 
Brick  Methodist  Church,  Cincinnati  (Fig.  262),  built  in 


380  Ecclesiastical  Architecture. 

1819,  will  show  the  simplest  mode  of  decorative  im- 
provement. The  church  is,  externally,  an  oblong  build- 
ing with  gable-roof.  Above  the  openings,  whether  door- 
ways or  windows,  were  inverted  courses  of  brick,  in- 
tended to  be  ornamental.  A circular  window  is  placed 
in  the  front  wall  beneath  the  gable.  One  door  was  for 
the  entrance  of  women,  and  the  other  for  the  entrance 
of  men.  The  internal  arrangements  were  simple.  A 
gallery  extended  around  three  sides  between  the  two 
tiers  of  windows.  The  north  end  of  the  room  was  oc- 
cupied by  the  pulpit,  behind  which  was  a semicircular 
alcove,  this  being  simply  ornamental  and  suggested  by 
the  historic  apse.  By  referring  to  Fig.  39  it  will  be  seen 
that  this  church  is  in  type  like  the  ark-church,  a model 
of  which  is  carried  by  the  bishop  in  the  imperial  chariot. 
Modern  non-priestly  Protestantism  resembled,  not  in  its 
earliest  church-buildings  alone,  but  also  in  its  form  of 
service,  Apostolic  Christianity. 

§Nave=type  with  Renaissance  Facade.  The 

Dissenting  Churches,  meaning  by  this  expression  all 
Churches  which  make  the  pulpit  central  in  their  church- 
edifices,  were  compelled  to  increase  the  facilities  in  their 
buildings,  in  order  to  accommodate  the  Sunday-school 
and  the  prayer-meeting.  The  first  change  to  meet  these 
new  demands  was  secured  by  making  two  stories  in  the 
church-building.  Growth  in  wealth  also  led  to  the  in- 
troduction of  new  architectural  features.  Morris  Chapel, 
of  Cincinnati  (Fig.  263),  built  in  1844,  will  give  an 
excellent  illustration  of  these  changes.  The  front  is 
Renaissance  in  design,  as  the  central  and  corner  piers, 
supporting  the  architrave,  make  clear.  The  doorways 
are  Renaissance.  The  doors  on  each  side  of  the  high 
steps,  leading  to  the  church  proper,  were  the  entrances 
to  the  Sunday-school  and  prayer-meeting  room.  The 


Modern  Styles. 


3«i 


two  doors  at  the  top  of  the  staircase  opened  into  a 
vestibule,  whence  entrance  was  gained  to  the  church 
through  three  double  doors.  A gallery  for  the  choir 
was  .'over  the  vestibule.  The  pulpit  was  opposite  the 


Fig.  263. 


MORRIS  CHAPKR  METHODIST  EPISCOPAL  CHURCH. 


choir.  The  designations  for  the  appointments  in  the 
Dissenting  churches  indicate  the  new  features  in  wor- 
ship. The  pulpit  is  central,  and  before  it  is  the  altar- 
table.  The  altar  includes  the  pulpit  and  the  communion- 
table. At  first  this  portion  was  separated  by  a railing, 
and  was  raised  somewhat  above  the  floor  of  the  church. 
The  choir  in  the  Protestant  church  is  the  place  for 
singers ; the  body  of  the  church  is  for  the  congregation. 


382 


Ecclesiastical  Architecture. 


Fig.  264. 


§ Nave=type  with  Renaissance  Tower.  Old  McKen- 

dree  Church,  Nashville  (Fig.  264),  is  a good  example, 

showing  the  tower 
in  order  to  give  a 
greater  architec- 
tural character  to 
the  front  of  Dis- 
senting churches. 
The  upper  stages 
of  the  tower  were 
square  in  plan, 
and  decreased  in 
the  ascent  upward. 
A pyramidal  spire 
made  the  termi- 
nation. Windows 
had  both  the  lintel 
and  round-arched 
head.  There  were 
downstairs  and  up- 
stairs to  the  build- 
ing. Entrance  was 
through  a kind  of 
colonnade  into  the 
vestibule,  -whence 
stairways  led  to 
the  church  above. 
The  place  of  as- 
sembly for  the 
worshiping  con- 
gregation is  the 
church.  A greater 
love  for  architec- 
tural features  is  apparent  in  this  front,  which  has  a 
strong  tower  as  its  chief  element,  containing  the  belfry. 


OLD  McKENDREE  METHODIST  EPISCOPAL 
CHURCH,  SOUTH. 


Modern  Styles . 


3^3 


§Nave-type  with 
Renaissance  Spire. 

The  trend  in  the  type 
of  the  nave-church  was 
still  toward  architec- 
tural embellishment  for 
the  front  of  the  church- 
building. The  central 
portion  of  the  new 
McKendree  Church 
(Fig.  265)  is  a strong 
tower,  and  the  corners 
are  finished  with  tur- 
rets, corresponding  to 
the  main  tower  in  style. 
Each  tower-structure  is 
surmounted  by  a spire. 
The  exaggerated  height 
of  the  central  spire  is  at 
once  apparent.  The 
iront  contains  pointed 
double  windows  under 
peculiar  hoods.  The  in- 
troduction of  the  circle 
in  the  heads  of  these 
double  windows  shows 
the  irrational  license  of 
the  Renaissance.  How- 
ever, the  whole  impres- 
sion of  this  facade  evi- 
dences a more  than 
common  love  for  archi- 
tect ural  effects  when 
compared  with  the 
structures  that  may  be 


Fig.  265. 


MCKENDREE  METHODIST  EPISCOPAL 
CHURCH,  SOUTH. 


384  Ecclesiastical  Architecture. 

regarded  as  contemporary  with  it.  The  doorway  through 
each  tower  leads  into  the  vestibule,  whence  there  arc 
entrances  into  the  church.  The  prayer-meeting  anc: 
Sunday-school  room  is  below,  and  is  entered  by  means 
of  a door  on  the  side  of  the  building.  The  approach  to 
this  church  is  through  a beautiful  churchyard,  having 
grassy  plots,  long  green  in  a Southern  clime. 

§ Nave=type  in  Gothic  Style,  with  Chapel.  The 

Memorial  Presbyterian  Church,  at  Gettysburg  (Fig. 
266),  presents  an  edifice  in  which  not  alone  the  front, 
but  the  whole  building,  was  ordered  under  architectural 
principles.  The  details  are  Gothic.  Yet  similar  struc- 
tures are  built  with  Romanesque  features.  This  me- 
morial church  has  a tower  similar  to  those  built  in  the 
parish  Tudor  churches  (vide  Fig.  183).  The  Tudor 
tower  has  several  more  stories  in  it  than  this  modern 
Gothic  tower,  for  height  is  gained,  not  by  a departure 
from  a tower-structure  to  that  of  a spire,  but  by  the  mul- 
tiplication of  stories  in  the  Tudor  tower.  The  modern 
Gothic  tower  has  a large  modern  Gothic  portal,  pointed 
and  deeply  recessed.  Above  it  there  is  a beautiful  and 
large  pointed  window,  through  which  light  enters  over 
the  gallery  into  the  church.  A series  of  gabled  openings 
are  set  in  the  roof,  thus  increasing  the  illumination  of  the 
interior.  The  exterior  of  the  side  wall  is  paneled  with  a 
pointed  arcade,  alternate  arches  of  which  are  window- 
apertures.  The  pinnacles  upon  the  tower  and  at  the 
church  corners  are  to  be  noticed  as  Gothic  features,  and 
also  the  steep,  high  Gothic  roof.  In  this  way  the  impress- 
iveness of  the  edifice  is  increased.  The  whole  building  is 
essentially  a new  type,  and  is  churchly  in  its  architec- 
tural features.  The  addition  of  the  chapel  in  the  rear  for 
Sunday-school  and  prayer-meeting  services  was  a great 
step  in  advance  over  the  practice  of  having  a basement- 


Modern  Styles. 


385 


story  for  these  purposes.  The  architecture  of  this 
chapel  accords  with  that  of  the  church.  There  is, 


of  course,  no  such 


Fig.  266. 


impressiveness 
in  this  modest 
group  of  build- 
ings as  we  find  in 
the  grandeur  of 
those  mighty 
cathedrals  which 
were  built  under 
the  priestly  form 
of  worship.  But 
to  a thoughtful 
mind  this  Gothic 
church  offers 
weighty  sugges- 
tions. The  church 
proper  is  the 
throne  of  the 
prophet,  who  ex- 
pounds the  Word 
of  God  in  a known 
tongue;  it  is  also 
the  court  of  God’s 
people,  where 
they  sing  praises 
unto  his  holy 
name.  The  chapel  is  the  place  for  instruction ; here  the 
power  of  the  teacher  has  full  sway.  The  Dissenting 
Churches  give  prominence  to  the  prophet  and  the 
teacher  in  their  worship. 


MEMORIAL  PRESBYTERIAN  CHURCH. 


§ Basilican  Type  in  Romanesque  Style.  The  central 
structure,  with  clerestory  and  the  adjacent  shed-roofs, 

25 


386  Ecclesiastical  Architecture. 

compose  the  Basilican  style,  and  the  Methodist  Episco- 
pal Church  at  St.  Augustine  (Fig.  267)  shows  the  mod- 
ern adaptation  of  this  ancient  type.  The  entrance  is  a 
triple  arcade  with  bold,  round  arches,  above  which  is  a 
circular  window.  The  tower  is  well-proportioned  and 
u graceful  Romanesque  structure,  giving  to  the  whole 


Fig.  267. 


METHODIST  EPISCOPAL  CHURCH,  ST.  AUGUSTINE,  FLA. 


edifice  strength  and  dignity  of  aspect.  It  is  skillfully 
united  to  the  church,  so  that  it  seems  no  addition,  but 
an  integral  part  of  the  building.  The  cone,  instead  of 
the  pyramid  as  the  spire-termination,  is  a modern  inno- 
vation. The  eclectic  character  of  modern  architecture 
is  apparent  from  this  church.  Not  structure,  but  deco- 
ration, gives  the  name  to  the  style.  The  type  is  Basil- 
ican ; the  decorative  features  are  Romanesque. 


Modern  Styles. 


387 


§ Romanesque  in  both  Type  and  Structure.  The 

cruciform  character,  as  seen  in  the  proposed  Methodist 
Episcopal  Church  (Fig.  268)  at  Norwalk,  O.,  imme- 
diately classifies  it  with  the  Romanesque  as  to  struc- 
ture. The  front  has  as  separate  elements  a noble  tower, 
a striking  porch,  and,  above  it,  a beautiful  circular  win- 


Fig.  268. 


PROPOSED  METHODIST  EPISCOPAL  CHURCH,  NORWALK,  O. 


dow,  all  carried  out  in  the  spirit  of  the  Romanesque. 
But,  nevertheless,  there  is  an  independence  in  the  han- 
dling of  the  details,  so  great  that  the  building  may  be 
rightly  characterized  as  the  Modern  Romanesque.  The 
tall,  triple  window  in  the  tower,  inclosed  in  a magnifi- 
cent round  arch,  and  its  upper  story  being  a triple  ar- 
cade, combine  to  produce  a tower  essentially  new  in 
design  as  well  as  modern.  The  low  dome  above  the 
crossing  of  the  roof  makes  not  only  a beautiful  finish. 


3S8 


Ecclesiastical  Architecture. 


but  is  richly  symbolical;  for  here  is  the  combination  of 
the  cross  and  the  crown.  The  transept  is  harmonious 
with  the  front  because  of  the  arcade  of  windows  and  the 
circular  window.  The  edifice  well  typifies  American 
Church-life,  which  is  founded  on  the  great  Christian 
faiths  of  the  past,  built  up  strongly,  independently,  and 
beautifully ; rich,  also,  in  its  indwelling  spirit. 


Fig.  269. 


B.  GROUND=PLANS  OF  THE  MODERN  CHURCH. 

(I)  altar  as  central. 

§ Plan  with  Nave  and  Chancel.  The  Roman  pa- 
rochial church  makes  provision  in  modern  times,  as  an- 
ciently, mainly  for  the  congregation 
and  the  ministering  priest.  And  the 
same  requirements  are  demanded  by 
the  Episcopal  parish  church.  The 
plan  of  St.  Martin’s  Roman  Catholic 
Church,  New  Haven  (Fig.  269),  will, 
therefore,  illustrate  the  general  ar- 
rangement in  these  two  branches  of 
the  Christian  Church  where  litur- 
gical sendee  is  fundamental.  The 
nave  contains  pews  for  the  worship- 
ing congregation.  They  are  entered 
by  the  central  and  the  side-aisles. 
The  chancel  contains  the  altar,  and 
is  the  place  where  the  priest  offi- 
ciates. The  choir  is  usually  a loft, 
opposite  to  the  chancel,  where  the 
st.  martin’s  roman  organ  and  the  singers  are  placed. 

CATHOLIC  CHURCH.  ^ , , 

It  is  thus  seen  that  modern  usages 


have  done  largely 
mediaeval  church. 


away  with  the  designations  of  the 
Nave,  choir,  and  transepts  are  terms 


seldom  applicable  to  the  modern  church. 


Modern  Styles. 


389 


§ Plan  with  Transepts.  St.  John’s  Roman  Cath- 
olic Church,: Jersey  City  (Fig.  270),  is  a splendid  adap- 

tation  of  the  Fig.  270. 

mediaeval  struc- 
ture to  modern 
times.  The  four 
great  piers  in  the 
nave  indicate 
the  transepts. 

There  is  an  ample  choir 
with  an  ambulatory  for  the 
clergy  around  it;  there  is 
also  a small  chapel  adjacent 
to  it.  A baptistery  is  built  in 
one  of  the  transepts.  Provis- 
ion is  made  by  means  of  pews 
for  the  seating  of  the  congre- 
gation. The  introduction  of 
seats  in  the  aisles  as  well  as  in 
the  nave  indicates  a purpose 
on  the  part  of  the  clergy  to  re- 
tain worshipers  in  the  church 
until  the  service  is  concluded.  This  is  modern,  and 
contrasts  strongly  with  the  ancient  way  of  having  the 
congregation  stand.  Not  only  is  this  standing  ancient, 
but  is  to-day,  on  the  Continent,  largely  the  practice  for 
the  greater  part  of  the  congregation.  They  stand  in  the 
nave,  and  leave  conveniently  by  stepping  into  the  side- 
aisles  of  European  mediaeval  churches,  and  so  pass  out 
of  the  edifice. 


ST.  JOHN’S  ROMAN  CATH- 
OLIC CHURCH. 


(2)  PULPIT  AS  CENTRAL. 

§ Plan  of  the  Church  Proper.  Protestant  usage 
limits  the  idea  of  the  church  to  the  large  room  in  which 
the  congregation  assembles  in  order  to  listen  to  the 


390 


Ecclesiastical  Architecture . 


Fig.  271. 


Word  of  God  read  and  expounded  from  the  pulpit. 
There  are,  therefore,  only  two  requirements  for  the 
church : the  place  for  the  minister,  and  the  place  for  the 
congregation.  The  body  of  the  church  (Fig.  271)  is 
filled  with  pews.  The  end  of  the  room,  opposite  the 
entrance,  is  where  the  pulpit  is  placed.  It  is  at  once 

evident  that  any  form  may 
be  given  to  the  edifice  which 
incloses  the  plan  providing 
for  the  requirements  of  Prot- 
estant worship.  The  seats 
of  the  church  may  be  ar- 
ranged in  various  ways, 
either  in  straight  rows,  leav- 
ing aisles,  or  in  semicircles, 
through  which  aisles  are 
led,  as  if  radiating  from  the 
pulpit.  The  tendency  is  to 
favor  this  semicircular  ar- 
rangement. Another  circu-  . 
lar  arrangement  is  seen  in 
Fig.  272,  a.  When  first 
choir-singing  became  a 
prominent  feature  in  worship,  the  place  for  the  choir  was 
over  the  vestibule  in  the  gallery.  Tater,  however,  the 
choir  was  moved  to  the  front  of  the  church,  either  to  one 
side  of  the  pulpit  or  behind  the  pulpit.  The  simplicity 
of  Protestant  worship  makes  no  demands  upon  a build- 
ing such  as  a liturgical  service  does.  Indeed,  the  church 
for  Protestant  worship  is  not  a temple  of  God,  but  a 
house  of  God,  and  so,  comparatively,  a simple  edifice. 


SIMPLEST  PROTESTANT 
CHURCH-PEAN. 


§ Plans  of  Churches  with  Chapels.  Protestant 
architecture  began  to  take  upon  itself  more  imposing  pro- 
portions, when  the  Sunday-school  and  social  services — - 


Modern  Styles. 


39i 


such  as  prayer-meetings  and  benevolent  meetings — be- 
came indispensable  for  the  increasing  demands  of  the 
growth  of  the  Protestant  religious  faiths.  The  down- 
stairs and  the  upstairs  arrangement  for  satisfying  these 
new  demands  enabled  architects  to  give  greater  magni- 
tude to  the  church-building;  but  only  when  these  require- 


Fig.  272. 


a.  PRESBYTERIAN  CHURCH,  b.  ENGEISH  EUTHERAN  CHURCH, 
GETTYSBURG,  PA.  CINCINNATI,  O. 


ments  were  met  by  the  addition  of  a chapel,  did  such  con- 
ditions arise  as  to  induce  the  architect  to  make  plans  for 
an  edifice  which  should  bear  no  unworthy  comparison 
with  the  architectural  efforts  of  former  times.  The 
earliest  solution  of  the  problem  arising  from  these  new 
requirements  of  Protestant  worship,  as  made  manifest 
through  its  social  meetings,  was  by  the  simple  addition 
of  a chapel  (Fig.  272,  a)  behind  the  pulpit.  Sometimes 
this  plan  with  chapel  was  inclosed  under  two  distinct 


392 


Ecclesiastical  Architecture . 


roofs,  at  other  times  under  one  roof  of  imposing  size. 
It  was  a great  advance  when  architects  arranged  their 
plans  so  as  to  make  the  chapel  open  into  the  church. 
This  end  was  reached  by  placing  the  chapel  behind  the 
church  (3).  The  entrance  in  the  plan  given  is  from  the 
front  and  to  one  side  of  the  chapel.  It  is  readily  seen 


a.  PLAN  METHODIST  EPIS- 
COPAL CHURCH,  WASH- 
INGTON C.  H.,  O. 


b.  PLAN  METHODIST 
EPISCOPAL  CHURCH, 
AT  NORWALK,  O. 


that  the  entrance  to  the  church  might  be  at  either  side,  in 
which  case  the  side  would  become  the  front.  One  of  the 
greatest  charms  of  modern  Protestant  Church  architec- 
ture, within  as  well  as  without,  arises  from  the  original 
and  beautiful  variations  in  the  arrangement  of  church 
and  chapel.  The  two  plans  in  Fig.  273  show  the  Sun- 
day-school room  or  chapel,  opening  into  the  audience- 
room  from  one  side.  The  unique  position  of  the  pulpit 
and  the  happy  arrangement  of  pews  so  as  to  make  the 
two  rooms  practically  one  for  the  accommodation  of  an 


Modern  Styles. 


393 


audience,  become  at  once  apparent,  and  show  most  ex- 
cellent architectural  judgment.  The  best  splendor  of  the 
architecture  connected  with  liturgical  worship  is  trace- 
able to  the  provision  for  the  altar  and  its  service.  The 
best  splendor  of  the  Protestant  worship  was  obtained 
when  large  provision  was  made  for  the  Sunday-school 
and  the  social  services.  The  one  is  the  splendor  of  a re- 
ligious palace,  the  other  the  splendor  of  a religious  home. 

C.  TYPES  OP  INTERIORS  IN  THE  MODERN  CHURCH. 

§The  Flat  Ceiling.  Beams,  set  into  the  wall  or 
upon  the  wall  of  the  church,  furnish  the  support  for  the 


Fig.  274. 


ceiling.  This  mode  was  the  earliest  developed  method 
of  roofing  over  a space.  The  First  English  Lutheran 
Church  (Fig.  274),  Cincinnati,  gives  a very  attractive  ex- 


394 


Ecclesiastical  Architecture . 


ample  of  decorative  expedients  for  beautifying  a mod- 
ern church.  The  side-aisles  are  under  a gallery,  and 
the  middle  aisles  have  a clerestory  wall,  in  which  ample 
window-apertures  are  made.  Heavy  beams  divide  the 
space  of  the  ceiling  into  coffer-like  panels.  A Gothic 
arcade  cuts  off  the  portion  of  the  room  assigned  to  the 
pulpit  and  communion-table.  Targe  spaces  are  fur- 
nished by  the  architect  in  this  style  to  induce  the  pro- 
moters of  the  edifice  to  ornament  the  room  with  beauty. 

§ A Modern  Church  Decorator.  The  ordinary  mode 
of  handling  the  wall-spaces  in  a flat-ceilinged  church  is 
detected  from  this  illustration  at  a glance.  The  only 
brains  needed  in  the  decorator  is  to  cut  out  a stencil 
plate,  imitating  some  stereotyped  patterns,  and  place 
them  and  a brush  in  the  hand  of  a mixer  of  paint.  The 
form  is  then  struck  by  him  upon  the  wall.  Some  pretty 
effects  are  often  secured  in  this  way,  but  all  this  kind  of 
decoration  can  never  inspire  the  brush  of  an  artist.  The 
Roman  Catholic  Church  of  St.  Patrick,  in  Nashville, 
Tenn.,  gives  an  example  of  how  this  mode  of  ceiling 
may  be  made  beautiful  as  art  and  symbolical  as  Chris- 
tian art.  The  ceiling  is  paneled  by  prominent  mould- 
ings into  forms  usually  square.  These  spaces  are  then 
painted  with  artistic  compositions  which  portray  great 
events  within  the  long  history  of  this  great  branch  of 
the  Christian  Church,  or  else  the  compositions  illustrate 
scenes  from  the  Christian  Scriptures.  The  side-walls  of 
the  room  are  filled  with  large  memorial  stained-glass 
windows,  and  the  light  coming  through  them  makes  not 
only  a wall  filled  with  beautiful  suggestions,  but  a sanc- 
tuary in  which  the  light  has  lost  its  glare,  and  is  mel- 
lowed into  grateful  twilight.  Most  of  the  Scriptures 
and  the  great  personages  of  the  Roman  Catholic  faith 
could  be  restored  from  the  churches  of  this  Christian 


Modern  Styles. 


395 


body  if  the  Scriptures  and  the  history  of  the  Church 
were  destroyed.  If  such  calamity  were  to  occur,  the 
Protestant  Churches,  from  the  decorations  of  their 
buildings,  could  produce  evidence  of  pretty  designs  in 
lace  or  geometrical  tracery,  but  would  furnish  scarcely 
any  part  of  the  Christian  Scriptures  which  are  the  foun- 
dation of  all  Protestant  belief.  All  this  is  unwise. 

§ The  Concave  Ceiling.  A longitudinal  section  (Fig. 
275)  of  a modern  church  will  enable  us  to  see  the  con- 


FlG.  275. 


struction  of  a variety  in  which  the  dome  is  combined. 
The  church  and  the  adjacent  chapel  under  one  roof  is 
at  once  distinguished.  The  place  of  the  pulpit  and 
communion-altar  is  seen  at  the  left  of  the  church ; the 
gallery  is  seen  outlined  at  the  right.  Central  is  the 


396  Ecclesiastical  Architecture . 

place  for  the  congregation,  and  above  it  is  the  charm  of 
a beautiful  dome ; at  the  sides  is  the  splendor  of  mag- 
nificent windows.  The  architectural  instinct  and  genius 
are  present  everywhere  in  this  construction,  and  mod- 
ern architects  may  be  rightly  proud  of  their  achieve- 
ments in  such  harmonious  and  beautiful  combinations. 

§The  Decoration  of  the  Concave  Ceiling.  The 

audience-room  of  the  Epworth  Methodist  Episcopal 


Fig,  276. 


INTERIOR  OF  EPWORTH  METHODIST  EPISCOPAL,  CHURCH. 


Church  (Fig.  276),  Cleveland,  O.,  is  an  interesting  study 
in  the  possibilities  of  modern  church  architecture.  The 
employment  of  great  arches  to  sustain  the  dome  is  a 
Byzantine  invention ; the  ribbed  construction  for  the 
roofing  of  spaces,  making  groined  compartments,  is  a 


Modern  Styles. 


397 


Gothic  expedient.  This  combination  of  both  methods 
into  a harmonious  structure  is  modern.  There  is  singu- 
lar majestic  splendor  in  this  room  for  the  congregation. 
The  dome  delights  with  its  grace  and  its  beautiful  pro- 
portions. The  windows,  within  the  great  arches,  de- 
light with  their  simplicity  and  varied  forms.  Had  this 
room  been  handed  over  to  any  one  of  the  great  Italian 
artists  of  the  Middle  Ages,  it  would  have  been  beautified 
with  artistic  productions  which  might  cope  not  unsuc- 
cessfully for  precedence  over  the  charms  of  the  great 
Italian  basilicas.  All  spaces  are  large,  of  different  form, 
attracting  the  genius  of  an  artist.  Indeed,  we  venture 
not  too  much  in  saying  our  modern  artists  are  capable 
of  adorning  these  surfaces  with  masterpieces  full  of 
churchly  suggestion.  But  the  wealth  of  the  modern 
individual  congregations  can  not  meet  the  fabulous  price 
for  artistic  work,  and  artists  to-day  look  for  lucre  rather 
than  immortality  of  fame.  They  have  their  reward 
sometimes. 

§ The  Pointed  Ceiling.  The  form  of  the  gable-roof 
is  left  unconcealed  in  the  pointed  ceiling.  Oblong  panels 
are  a simple  and  common  mode  of  decoration.  But  the 
audience-room  is  given  a most  remarkable  attractiveness 
when  there  is  introduced  into  it  columns  and  arches, 
thus  dividing  the  room  into  divisions  corresponding  to 
the  nave  and  side-aisles.  The  interior  of  the  Calvary 
Presbyterian  Church,  Cleveland  (Fig.  277),  shows  this 
style  of  interiors.  If  we  remove  the  high  gable-roof 
we  will  have  a frame-work  of  wood,  constructed  on  the 
same  principles  as  the  Gothic  building.  Columns  sup- 
port arches,  making  nave  and  side-aisles.  Thus  it  may 
be  said  that  one  mode  of  modern  decoration  is  to  place 
the  Gothic  frame-work  under  the  roof  of  a building,  and 
insert  many  ornamental  forms  upon  the  beams  and  arches. 


398 


Ecclesiastical  Architecture. 


There  are  many  churches  of  this  interior  construction, 
and  manifold  are  the  variations  produced  in  them  by  the 

Fig.  277. 


CAI/VARY  PRESBYTERIAN  CHURCH. 


forms  of  ornamental  wood-work  introduced  here  and 
there  within  the  room.  A very  common  mode  of  treat- 


Modern  Styles. 


399 


in g the  paneling  of  the  pointed  ceiling  is  to  give  the  pan- 
els a background  of  sky-blue,  and  scatter  golden  stars  on 
this  wooden  firmament.  Protestant  interiors  are  gen- 
erally made  ornamental  and  attractive  by  a stereotyped 
decoration.  The  great  need  is  for  an  ornamental  style 
which  shall  retain  reminders  of  the  past  history  of  the 
Christian  faith  and  memorial  scenes  of  the  magnificent 
achievements  of  Protestant  leaders  in  the  development 
of  the  religious  life  of  the  Western  nations  as  well  as  of 
the  Orient. 

D.  ARCHITECTURAL  STYLES  OF  THE  MODERN  CHURCH. 

§ Designation  of  Modern  Styles.  The  broadest 
generalization  of  architectural  styles  is  expressed  under 
the  three  terms,  Renaissance,  Romanesque,  and  Gothic. 
The  Renaissance  is  practically  an  eclectic  style.  Gothic, 
Romanesque,  Byzantine,  and  Classical  features  are  com- 
bined at  pleasure  in  the  modern  Renaissance.  The 
modern  Romanesque  and  Gothic  styles  are  true  to  the 
principles  of  mediaeval  Romanesque  and  Gothic  so  far 
as  to  confine  the  round  arch  to  the  Romanesque  and  the 
pointed  arch  to  the  Gothic.  Yet  the  building  may  be 
either  Basilican  or  cruciform  in  general  outline.  It  is 
quite  the  custom  to  decry  our  modern  architects,  and  to 
pass  by  their  works  with  but  slight  attention.  The  fact, 
however,  is  that  modern  Church  architecture  is  in  no 
sense  second  to  mediaeval  where  the  conditions  are  es- 
sentially the  same.  A right  comparison  is  instituted 
when  the  mediaeval  parish  or  parochial  churches  are  com- 
pared with  the  beautiful  structures  which  are  modern 
and  adorn  English  and  American  cities.  The  magnifi- 
cent ability  of  modern  architects  to  plan  great  cathedral 
edifices  became  apparent  when  the  competitive  designs 
for  the  St.  John’s  Cathedral,  New  York,  were  made. 
These  designs  show  ecclesiastical  edifices,  which,  if 


400 


Ecclesiastical  Architecture . 


built,  would  easily  rival  the  proudest  monuments  of 
Italy,  France,  Germany,  Spain,  or  England.  We  need 
not  genius  in  architects,  but  liberality  in  the  people,  in 
order  to  make  our  American  cities  the  possessors  of 
an  ecclesiastical  architecture  which  would  astonish  the 
dwellers  among  the  cathedrals  of  mediaeval  Europe.  A 
great  Protestant  cathedral  in  each  of  our  large  cities, 
consecrated  to  general  services  and  common  religious 
needs,  having  library,  historical  and  art  museums,  would 
create  a demand  for  an  ecclesiastical  edifice  of  propor- 
tions equal  to  European  cathedrals,  and  would  also  give 
to  Protestant  architecture  most  beautiful  and  command- 
ing structures. 

(i)  MODERN  RENAISSANCE  STYEK- 

§ English  Lutheran  Church,  Cincinnati.  The  ec- 
lectic character  of  this  truly  attractive  church  (Fig.  278) 
becomes  apparent  upon  the  inspection  of  its  dominant 
features.  The  gable  end,  with  its  great  Gothic  window, 
would  not  be  inappropriate  in  the  Gothic  churches  of 
the  flamboyant  style.  The  strong,  solid  tower  is,  in  the 
main,  Romanesque.  The  central  dome  suggests  Euro- 
pean Renaissance.  The  combination  is  daring,  and  is 
effected  with  a most  pleasing  grace,  showing  rare  con- 
structive ability  in  the  architect.  By  referring  to  the 
ground-plan  of  this  church  ( vide  Fig.  272,  b)  it  will  be 
seen  that  utility  was  beautifully  secured  by  the  com- 
bination of  domical  and  pointed  roof  in  this  edifice. 
The  dome  is  the  charming  covering  for  the  Sunday- 
school-room.  The  cross  gable-roof  is  the  roofing  for 
the  church.  The  tower  is  part  of  the  church.  This 
church  is  like  those  small  flowers  by  the  wayside. 
Their  modest  show  hides  their  beauty,  but  when  they 
are  plucked  and  beheld,  their  beauty  of  form  and  rare 
coloring  make  their  rival  easily  the  more  obtrusive 


Modern  Styles.  401 

flower  beauties  which  hang  in  our  gardens.  Indeed,  it 
may  be  said  of  modern  churches  of  the  best  type,  they 


Fig.  278. 


FIRST  ENGLISH  LUTHERAN  CHURCH. 


need  only  larger  proportions  to  make  them  splendid  ex- 
amples of  the  architectural  art. 


402  Ecclesiastical  Architecture. 

§ Methodist  Episcopal  Church,  Washington  Court 

House,  O.  Fancy  always  finds  delight  in  those  English 
parochial  churches  of  the  Tudor  times,  which  are  ivy- 
clad  and  are  mighty  through  their  strong  tower.  This 
church  (Fig.  279)  has  all  the  allurement  in  it  that  these 
English  churches  possess.  It  is  Renaissance  in  style 
because  it  is  composite.  The  towers  at  the  corners  of 


Fig.  279. 


WASHINGTON  C.  H.  METHODIST  EPISCOPAL  CHURCH. 


the  entrance-fagade,  and  in  the  angles  of  the  transepts, 
show  that  love  for  these  strong  features  which  led  the 
architects  along  the  Rhine,  in  the  palmy  days  of  the 
Romanesque  style,  to  add  them  in  numbers  to  their 
churches.  The  dome  over  the  central  crossing  is,  for 
beauty  and  grace,  equal  to  those  which  the  European 
Renaissance  regarded  as  its  chiefest  joy.  The  gable 
end,  with  the  large  pointed  window,  is  Gothic.  The 
ground-plan  of  this  church  is  given  in  Fig.  273,  a . These 
two  examples  show  that  the  modern  Renaissance  is  an 
independent  and  beautiful  style. 


Modern  Styles.  403 

(2)  MODERN  ROMANESQUE  STYLE. 

g Madison  Avenue  Methodist  Episcopal  Church, 
New  York  City.  The  chapel  (Fig.  280)  is  to  the 


Fig.  280. 


MADISON  AVENUE  METHODIST  EPISCOPAL  CHURCH. 


left,  and  is  united  harmoniously  to  the  church.  As  to 
its  structural  type,  the  building  is  a basilica  with  central 


404  Ecclesiastical  Architecture . 

tower.  The  Basilican  form  is  apparent  from  the  central 
clerestory  structure  and  the  adjacent  shed-roofs.  The 
handling  of  the  separate  features  of  this  edifice  shows 
that  modern  ecclesiastical  architecture  is  least  of  all 
imitative.  The  entrance-facade  is  a porch  structure 
with  central  tower.  The  details  are  Romanesque,  sav- 
ing the  pointed  gable  over  the  portal.  The  long,  nar- 
row windows  above  the  entrance,  the  large  arches  of  the 
belfry,  the  gable-roof,  are  beautiful,  and  practically  new 
as  architectural  designs.  The  example  is  a beautiful 
modern  Romanesque  church. 

§ Baptist  Church,  Newton,  Mass.  Modern  ecclesi- 
astical architecture  has  this  excellence,  that  it  runs  not 
into  the  extravagances  of  the  Renaissance  ecclesiastical 
architecture  of  the  seventeenth  century.  Our  modern 
churches  are  a distinct  type  by  themselves  in  the  main, 
and  are  in  beautiful  accord  with  the  simple  purposes 
of  the  building.  Sometimes  a love  for  what  looks  solid 
and  substantial,  rather  than  for  what  has  grace  and 
beauty,  seems  to  dominate  in  the  construction  of  some 
of  them.  Yet  this  plainness  has  far  greater  attractions 
than  that  parade  of  vanity  which  appears  when  bizarre 
and  senseless  ornamentation  decorate  the  facade  of  a 
church.  The  Newton  Baptist  Church  (Fig.  281)  is 
simple  and  substantial,  cruciform  throughout,  with  a 
huge  tower  over  the  crossing.  There  is  a large,  round 
arched  portal,  with  heavy  columns  in  the  jambs.  Above 
it  is  an  arcade  at  the  height  of  the  eaves,  not  to  hold 
statues,  but  to  let  light  into  the  building.  The  character 
of  the  building  is  quite  Norman  in  style.  Trinity  Church, 
Boston,  is  like  this  one  in  being  as  decidedly  cruciform,  but 
all  else  is  developed  with  the  most  admirable  skill.  At  the 
entrance  of  the  Trinity  Church  is  a magnificent  porch, 
with  commanding  towers  at  its  ends.  The  tower  at  the 


Modep.1 v Styles. 


405 


crossing  is  one  of  the  most  imposing  and  striking  pro- 
ductions of  American  architecture.  This  Trinity  Church 


Fig.  281. 


NEWTON  BAPTIST  CHURCH. 


is  demonstration  of  how  independent  and  new  is  Amer- 
ican ecclesiastical  architecture. 

§ First  Presbyterian  Church,  Duluth,  Minn.  The 

fagade  of  this  Romanesque  church  (Fig.  282)  is  tripartite, 
having  as  central  a triple  arched  portal,  above  which  is 


406 


Ecclesiastical  Architecture. 


a window-arcade  with  four  openings,  and  still  higher,  a 
tripartite  window.  The  portal  opens  into  a porch,  above 

which  is  the 
Fig.  282.  gallery.  The 

central  por- 
tion is  flanked 
by  two  tow- 
ers : one  is 
built  only  as 
high  as  the 
roof,  indeed, 
is  placed  un- 
der its  shel- 
ter ; the  other 
is  a massive, 
tall  structure, 
beautiful  in 
its  finish.  The 
belfry  arches 
= make  the  only 
considerable 
openings  in 
its  sides.  A 
conical  roof 
with  dormer 
windows  com- 
pletes the  tow- 
er. The  tran- 
sept  arm  is 
the  portion 
assigned  to 

chapel  uses.  By  referring  to  the  last  three  illustrations, 
the  remarkable  variety  of  buildings  included  in  the 
modern  Romanesque  will  become  at  once  evident.  These 
all  are  entirely  unlike  mediaeval  Romanesque. 


FIRST  PRESBYTERIAN  CHURCH. 


Modern  Styles. 


407 


Fig.  283. 


§ St.  John’s  Roman  Catholic  Church,  Jersey  City. 

There  is  shown  in  this  edifice  the  ability  of  a modern 
architect  to  retain  the  constructive  fea- 
tures of  mediaeval  churches,  and  yet  to 
handle  the  details  so  as  to  give  an  en- 
tirely modern  aspect  to  his  building.  The 
two  towers  and  the  center  of  the  fagade 
(Fig.  283)  attract  the  attention.  The  seven 
stages  of  the  larger  tower  are  indicated 
by  string  courses  and  also  by  windows. 

The  upper  stage  has  in  its  sides  a large 
circular  window.  The  arcade  in  each  face 
of  the  upper  belfry  is  singularly  beautiful, 
and  serves  to  increase  the  impression  of 
the  tower’s  height.  The  heavy  cornice 
and  balustrade,  and  the  two  arched  con- 
structions as  the  terminal,  really  reaches 
the  height  of  a spire  with  a structure 
entirely  tower-like  from  base  to  apex. 

The  smaller  tower 
is  built  in  perfect 
harmony  with  its 
lofty  companion. 

The  center  has  a 
triple  doorway  and 
a magnificent  win- 
dow above,  whose 
head  is  a beautiful 
rose-window.  The 
cruciform  build- 
ing, the  height  of 
the  clerestory,  are 
imposing.  The 
plan  of  this  church 
is  seen  in  Fig.  270.  st.  John’s  roman  catholic  church. 


408 


Ecclesiastical  Architecture. 


St. 


(3)  MODERN  GOTHIC  STYLES. 

Mary’s  Roman  Catholic  Church,  New  Haven. 

The  traditions  of  medi- 


FlG.  284. 


seval  Gothic  appear  in 
every  part  of  this  fa- 
gade  (Fig.  284).  The 
tower,  with  the  spire, 
reaches  daring  height 
through  steps  of  in- 
creasing beauty.  The 
nave  window  is  mag- 
nificent. The  tower  is 
banished  from  the  left 
portal  by  substituting 
in  place  thereof  a 
large  square  buttress, 
formed  so  as  to  be  in 
harmony  with  the 
great  tower.  The 
architect  adopted  an 
original  mode  of  call- 
ing attention  to  the 
spire.  The  portal 
which  pierces  its  base 
is  as  large  as  the  por- 
tal which  is  the  en- 
trance into  the  nave. 
= |^  The  other  side  portal 
is  much  smaller.  It  is 
to  be  remembered  that 
this  church  belongs  to 
a parish,  and  makes 
no  pretensions  to  ca- 
thedral proportions. 
Its  I'Z  severely  plain. 


ST.  MARY’S  CHURCH. 


Modern  Styles.  409 

No  attempt  is  made  to  sculpture  its  front  with  marvel- 
ous forms.  The  church  is  a simple  and  beautiful  Gothic 
edifice  which  gives  to  mediaeval  Gothic  forms  a modern 
setting. 

Fig.  285. 


§ Brown  Memorial  Presbyterian  Church,  Balti= 
more.  This  church  (Fig.  285)  is  interesting  because  it 
exhibits  an  early  stage  in  those  efforts  which  sought 
to  unite  the  chapel  with  the  church  so  as  to  form  one 
building.  The  chapel  appears  as  a second  transept  to 


4.io 


Ecclesiastical  Architecture . 


ib~  c jtfi ce.  The  spire  and  the  tower  are  worthy  Gothic 
constructions.  The  three  stories  of  the  tower,  upon 
which  Che  cph'G  3s  set,  ere  beautifully  varied  by  means 
of  contrasted  apertures.  The  pointed  hoods  above  the 
windows  could  well  be  dispensed  with ; also,  the  towers 
have  the  appearance  of  being  set  at  the  corners  of  the 
building’s  front.  Nevertheless,  the  church  is  so  excel- 
lent a type  that  it  has  found  great  favor  among  us. 

§West  Spruce  Street  Baptist  Church,  Philadelphia. 

When  architects  took  the  step  of  making  the  length 
of  the  church  the  front  facade,  they  secured  facilities 
which  led  to  a complete  change  in  the  appearance  of  the 
church  and  furnished,  also,  a new  type  among  modern 
churches.  West  Spruce  Street  Church  (Fig.  286)  has 
two  transepts,  and  so  is  similar  to  the  edifice  just 
considered.  But  the  tower  is  placed  between  the  tran- 
septs. The  entrances  to  the  chapel  and  to  the  church 
are  respectively  in  the  tower  and  the  transept.  There 
is  the  highest  architectural  love  displayed  in  this  church. 
It  is  called  the  modern  Italian  Gothic,  because  stones  of 
different  color  are  employed  in  its  adornment.  Further 
than  this  variegation  of  color  in  the  stones  there  is  no 
suggestion  in  the  church  traceable  to  Italian  architec- 
ture. The  church  is  a triumph  of  American  architects. 
Cathedral  spires  in  Europe  have  the  charm  of  rich  sculp- 
ture, but  they  are  not  more  gracefully  proportioned  than 
this  spire,  nor  do  they  seem  to  leap  more  gladly  into 
heights  of  the  sky.  The  treatment  of  the  transept,  in 
which  the  entrance  is  placed,  deserves  attention.  The 
pointed  arch  climbs  up  into  the  space  of  the  gable. 
Reaching  into  the  head  of  this  arch  is  a large  rose- 
window,  whose  lights  are  foliated  forms.  A baldachin 
structure  is  built  out  over  the  portal  in  this  transept. 
The  Gothic  of  this  church  is  as  beautiful  as  it  is  original. 


Modern  Styles . 41T 

Fig.  286. 


WEST  SPRUCE  STREET  BAPTIST  CHURCH. 


412 


Ecclesiastical  Architecture. 


§ New  Old  South  Church,  Boston.  It  is  true 
that,  if  sculpture  were  united  to  the  modern  churches 
as  it  is  with  the  ecclesiastical  styles  of  the  past,  the 
FiG.  287.  charms  of  the  modern  churches  would 
be  found  to  be  wonderfully  increased. 
Modern  architects  have  earned  just 
praise  for  their  original  and  beautiful 
designs,  skillfully  adapted  to  the  new 
demands  upon  a church  edifice  which 
modern  religious  life  has  created. 
The  fine  New  Old  South  Church 
(Fig.  287)  is  Gothic,  yet  unlike 
any  type  we  have  considered.  It  is 
cruciform,  but  the  cross  is  the  Latin 
cross.  The  entrances  are  placed  along 
its  length.  The  whole  aspect  of  the 
building  is  such  that  it  would  seem 
best  suited  to  a worship  in  which  the 
choir  with  its  altar  controlled,  instead 


new  oed  south  church. 


lSqsern  Styles. 


4*3 


/>f  the  pulpit  and  its  sermon.  The  tower  is  strictly 
modern  in  its  whole  spirit,  and  is  to  be  approved.  The 
appearance  of  filigree-work  on  the  dome  might  have 
been  judiciously  avoided.  Some  minor  criticisms  of  this 
nature  may  be  rightly  urged  against  the  architecture  of 
this  church.  Still,  as  a monument  of  the  independence 
of  the  modern  architect,  and  also  of  his  genius,  this 
church  is  of  the  highest  importance.  The  American 
cities  are  being  beautified  by  lovely  structures  in  these 
architectural  styles,  inspired  by  modern  skill  and  genius. 
Every  year  the  older  church  edifices  are  being  torn 
down  by  growing  Church  societies,  and  rebuilt  in  nobler 
architectural  forms.  These  churches  are  church-homes. 
Without,  they  are  tastefully  built;  within,  they  are  hand- 
somely adorned.  There  is  a peculiar  quiet  in  these 
sanctuaries;  there  is  also  lovely  beauty.  Such  beauty 
is  here  as  you  find  in  those  woodland  retreats  where  no 
noble  vistas  of  forest-trees  are  seen,  but  only  the  quiet 
fountain,  the  lovely  shade,  the  sweet  song-bird,  and  sun- 
shine streaming  down  through  the  branches  above. 

E.  THE  ARCHITECTURE  AND  WORSHIP  OF  CHRISTIANS* 

§ The  Earliest  Christian  Creed.  The  bond  of  unity 
between  all  believers  in  Jesus  Christ  is  their  creed.  The 
earliest  formulated  creed  is  that  of  Cyprian  of  Carthage 
(325  A.  D).  The  creed  is  the  following : 


These  are  the  essentials  of  Christian  faith ; they  have 
inspired  all  the  holy  living  of  the  followers  of  Christ ; 
they  have  inspired  all  the  manifold  types  of  Christian 
theology;  they  have  inspired  the  various  forms  of  Chris- 


I believe 

In  God  the  Father, 
In  his  Son  Christ, 
In  the  Holy  Ghost. 


I believe  in 

The  forgiveness  of  sins 
And  eternal  life 
Through  the  Holy  Church. 


4 14  Ecclesiastical  Architecture. 

tian  worship;  they  have  inspired  the  triumphs  of  Chris- 
tian architecture. 

§The  Essential  Requirements  of  Christian  Wor= 
ship.  The  Church  is  composed  of  all  believers  in  Jesus 
the  Christ.  Our  L,ord  set  aside  from  among  them  the 
presbyter,  to  teach  his  doctrine  and  to  baptize  in  his 
name.  The  Church  chose  for  themselves  deacons  to  care 
for  the  sick  and  the  poor.  Christian  worship,  in  all  of 
its  manifold  character,  began  with  this  threefold  dis- 
tinction among  believers.  The  sacraments  instituted  by 
Christ  are  two,  those  of  the  eucharist  and  baptism.  Va- 
rious branches  of  the  Christian  Church  have  instituted 
other  sacraments.  Christian  worship  consists  of  giving 
and  receiving  instruction  in  the  Holy  Word,  and  of  ad- 
ministering and  receiving  the  sacraments.  The  earliest 
Christian  service,  like  the  earliest  Christian  creed,  was 
simple.  The  presbyter,  standing  within  the  tribune  at 
one  end  of  the  room,  narrated  to  the  congregation  be- 
fore him  instances  in  the  life  of  Christ,  then  read  the 
letters  of  the  apostles,  and  gave  a short  homily.  After- 
wards prayer  was  offered,  a song  sung,  and  then  all  be- 
lievers partook  of  the  Tord’s  Supper. 

§ Worship  and  Architecture.  The  Apostolic  Cath- 
olic Church,  which  continued  until  about  321  A.  D.,  re- 
tained the  simple  forms  of  worship  under  the  direction 
of  the  presbyter.  The  modern  non-liturgical  Protestant 
Catholic  Churches  also  maintain  this  simple  mode  of 
worship  with  slight  variations.  The  ancient  Ark  and 
Basilican  styles  (pages  42-61)  and  the  modern  styles 
(pages  374-416)  represent  the  architecture  fostered  by 
this  form  of  Christian  worship.  An  elaborate  liturgy  was 
early  developed  in  the  Christian  Church,  as  early  as  the 
sixth  century.  The  Oriental  liturgy  is  a sacred  drama 


Modern  Styles. 


4i5 


exhibiting  the  life  of  Christ.  “ The  prayers  and  the  read- 
ing of  the  Scripture  lessons  are  accompanied  by  symbol- 
ical acts  performed  by  the  priest  and  deacons;  such  as 
lighting  and  extinguishing  candles,  opening  and  closing 
doors,  kissing  the  altar  and  the  Gospels,  crossing  the 
forehead,  mouth,  and  breast,  swinging  the  censer.  All 
this  is  accompanied  with  frequent  changes  of  liturgical 
vestments,  processions,  genuflexions,  and  prostrations.” 
The  Latin  mass  is  the  service  around  which  gathers 
interest  in  the  worship  of  the  Latin  Church  and  all 
its  subsequent  developments  under  the  spirit  of  the 
Papal  Church.  The  mass  celebrates  the  passion  of 
Christ,  and  the  celebrants  are  clothed  in  rich  vestments. 
A strict  order  of  procedure,  as  well  as  certain  symbolical 
acts,  are  prescribed  by  the  Church  authorities.  All  the 
most  remarkable  styles  of  Christian  architecture  have 
grown  up  in  connection  with  these  two  great  branches 
of  the  liturgical  Churches.  These  styles  are  the  Byzan- 
tine (pages  66-91),  the  Romanesque  (pages  92-170), 
the  Gothic  (pages  171-287),  the  Renaissance  (pages  322- 
373).  The  Protestant  Episcopal  Church  is  a liturgical 
Church,  but  only  so  far  as  to  have  read  at  the  altar  the 
prayers,  collects  of  the  Church,  and  the  Ritual  connected 
with  the  celebration  of  the  Lord’s  Supper.  The  Tudor 
Gothic  style  and  the  Elizabethan  Renaissance  style,  to- 
gether with  many  beautiful  churches  in  the  modern 
styles,  represent  the  architecture  of  this  great  Protest- 
ant body. 

§ Architecture  and  the  Christian  Life.  That  beau- 
tiful life  which  the  Creator  placed  in  the  seed  of  the 
flowers  of  the  field  has  little  promise  for  the  inquiring 
eye  when  only  the  husk  of  the  seed  is  seen,  or  the  tender 
shoot  as  it  comes  forth  from  the  ground  and  puts  forth 
its  modest  leaves.  But  continued  growth  must  develop 


4i 6 Ecclesiastical  Architecture. 

all  its  capacities,  and  soon  it  unfolds  its  petals,  which 
gladden  the  eye,  under  the  glow  of  sunshine,  with  rich 
colors,  such  as  the  raiment  of  Solomon  in  all  his  glory 
could  not  excel.  So  that  beautiful  life,  which  the  Creator 
placed  in  the  heart  of  man,  the  seed  of  the  Christian  re- 
ligion, in  its  first  appearance  hath  no  form  nor  comeli- 
ness, no  beauty  such  as  that  we  should  desire  it.  But 
grow  it  must,  grow  in  the  beauty  of  holiness,  transform- 
ing human  life  into  the  divine  likeness.  Also  Christians 
build  for  themselves  the  house  of  God;  at  first  it  is 
simple  and  plain,  but  this  house  of  God  must  also 
grow  in  beauty  under  the  power  of  the  Christian  spirit. 
Then  Christian  architecture  appears,  an  inflorescence  of 
the  Christian  life  made  manifest  in  wood  and  stone. 


A BRIEF  GLOSSARY  OF  TECH- 
NICAL TERMS. 


A. 

Abacus,  the  upper  part  of  a capital  or  of  a pier. 

AiseE,  the  walks  adjacent  to  and  at  the  sides  of  the  nave;  also 
any  of  the  passways  in  a church. 

AeTar,  the  elevated  table  for  the  celebration  of  the  eucharist; 
also  the  inclosed  portion  before  the  pulpit  in  the  modern 
church,  where  the  communion-table  is  placed. 

Ambo,  a pulpit  on  the  side  of  the  choir  in  the  early  basilica,  from 
which  the  Scriptures  were  read. 

Ant^E,  the  ends  of  a building  formed  into  the  shape  of  piers. 

Apse,  the  semicircular  or  polygonal  termination  to  the  church 
behind  the  choir. 

Arcade,  a range  of  arches  supported  by  columns  or  piers. 

Architrave,  the  chief  beams  which  rest  upon  the  capitals  of 
columns ; the  lowest  part  of  an  entablature. 

ArchivoeT,  the  architrave  moulding  of  an  arch,  following  its 
curvature. 

Attic,  the  half-story  above  an  entablature,  or  above  the  cornice 
to  the  main  part  of  an  edifice. 

B. 

Baedachin,  a vaulted  canopy,  supported  by  shafts  or  columns, 
and  placed  over  an  altar  or  portal. 

Baeustrade,  an  open  wall  at  the  edge  of  the  roof  in  the  Gothic 
style,  constructed  by  means  of  balusters. 

Baptistery,  a separate  building,  containing  the  baptismal  font, 
and  used  for  the  celebration  of  the  baptismal  rite,  espe- 
cially in  the  early  church. 

Basieica,  the  name  given  to  the  type  of  church  edifice  which 
was  built  in  the  time  of  Constantine  and  to  similar  struc- 
tures of  later  times. 

Bay,  a compartment  of  an  arcaded  wall,  adjacent  columns  or 
piers  marking  the  limiting  lines. 

27 


4^7 


418  Glossary  of  Technical  Terms. 

Bead,  a small  cylindrical  moulding  common  in  most  styles  of 
architecture. 

Beefry,  the  stage  or  story  of  a tower  in  which  the  bells  are  hung. 

BieEET,  a moulding  much  used  in  the  Norman  style,  and  resem- 
bling sections  of  a round  stick. 

Boss,  the  keystone  at  the  intersection  of  the  ribs  of  a groined 
vault;  often  its  face  was  sculptured  with  foliage,  some- 
times with  curious  forms. 

Buttress,  the  masonry  added  to  a wall,  to  offer,  by  its  weight,  a 
counter-resistance  to  the  thrusts  of  a roof  or  vault.  The 
flying  buttress  is  the  portion  of  an  arch  thrown  to  a wall 
from  the  summit  of  a pier  or  a buttress,  in  order  to  trans- 
fer a thrust  to  the  resisting  buttress. 

c. 

CampanieE,  the  name  first  used  in  Italy  for  the  belfry  tower. 

Canopy,  the  covering  above  a niche,  or  an  altar,  or  a choir-stall ; 
also  the  covering  above  a tomb. 

Capitae,  the  upper  part  of  a column,  pier,  or  pilaster. 

Caryatides,  piers  or  columns  fashioned  into  the  shape  of  a 
woman. 

Cathedrae,  the  church  in  which  the  throne  of  the  bishop  is 
placed. 

CavetTO,  a concave  moulding. 

Chamfer,  the  cutting  off  of  the  edge  of  any  work  in  a slight 
degree.  Chamfer-work  was  sometimes  plain,  sometimes 
hollowed  out,  often  moulded. 

Chancee,  the  choir  portion  of  a church,  where  is  found  the 
altar,  a name  used  in  connection  with  the  modern  litur- 
gical churches. 

Chapee,  a smaller  church,  or  a part  of  a greater  edifice  set  aside 
for  divine  worship  ; also  the  room  for  social  gatherings  in 
modern  non-ritual  churches. 

Choir,  that  part  of  a church  where  a liturgical  service  is  per- 
formed by  the  clergy;  also  the  place  where  the  singers  Ere 
stationed  who  furnish  the  music  in  a modern  church. 

CeERESTOry,  the  portion  of  the  nave-walls  rising  above  the 
aisles  and  pierced  with  windows. 

Ceoister,  a square  plot  connected  with  the  mediaeval  church, 
and  surrounded  with  a walk  for  the  use  of  the  clergy ; it 
was  covered  with  a groined  roof. 


Glossary  of  Technical  Terms. 


419 


Coffer,  a deep  panel  in  a ceiling. 

Consoe,  a bracket  of  peculiar  form,  having  contrasted  volutes 
at  the  two  ends  ; the  intervening  lines  are  flowing  curves. 

Corbee,  a projecting  stone  from  out  of  a wall,  whose  purpose  is 
to  support  a vaulting  shaft  or  any  other  weight.  These 
ends  were  often  beautifully  carved. 

Corbee  TabeE,  the  projecting  cornice  or  parapet,  supported  by 
corbels. 

Cornice,  the  projecting  upper  termination  of  a wall,  specially 
prominent  in  classical  architecture. 

Corona,  the  deep,  vertical  hollow  of  the  cornice  between  the 
upper  and  lower  mouldings. 

Crocket,  an  ornament  upon  small  gables,  hood-mouldings,  pin- 
nacles, having  generally  the  form  of  a winding  stem  and 
leaves. 

Crypt,  a vaulted  chamber  under  the  choir. 

Cupoea,  a spherical  covering  to  a building  or  to  any  part  thereof. 

Cusp,  the  point  of  intersection  made  by  the  different  foliations 
of  a tracery. 

Cyma,  a moulding  whose  curve  is  a wave-line,  one  part  convex,, 
the  other  concave. 

D. 

Dome,  the  commanding  cupola  on  the  roof  of  a cathedral 
church ; also  any  spherical  roof. 

E. 

Echinus,  the  egg-carved  moulding  beneath  the  capital,  also 
called  ovola. 

Entablature,  the  horizontal  mass  above  a range  of  columns> 
composed  usually  of  architrave,  frieze,  and  cornice. 

F. 

Facade,  any  face  to  a building  especially  applied  to  the  entrance 
front. 

FiEEET,  a narrow  lineal-like  band  separating  various  mouldings, 
such  as  hollows  and  rounds;  also  the  narrow  lines  between 
the  flutes  of  Corinthian  and  Ionic  columns. 

Finiae,  the  pyramidal  termination  set  upon  a buttress,  spire,  or 
pinnacle. 

Flute,  the  vertical  concave  channel  in  the  sides  of  a column. 


420 


Glossary  of  Technical  Terms. 


Fresco,  a method  of  setting  colors  in  a wall  before  the  plaster- 
ing has  dried;  it  was  combined  with  painting  as  an  art 
and  received  the  name  of  fresco-painting. 

Frieze,  the  portion  of  the  entablature  above  the  architrave  and 
below  the  cornice;  it  received  the  greatest  enrichment 
from  sculpture. 

G. 

GabeE,  the  end  of  a roof- structure,  closed  up  by  the  end  wall  of 
a building  being  carried  up  in  a triangular  shape;  an  orna- 
mental gable  is  called  a pediment. 

Gargoyle,  a projecting  waterspout,  carved  usually  into  curious 
or  grotesque  forms. 

Groin,  the  line  of  intersection  of  two  vaults;  also  the  curved 
spaces  between  vaulting  ribs;  sometimes  the  system  of 
ribbed  vaulting. 

H. 

Hood-moulding,  the  drip-stone  above  a window  or  doorway. 


1NTERCOEUMNIATION,  the  clear  space  between  columns. 


J. 

Jamb,  the  side-posts  of  a doorway  or  window-aperture. 

L. 

Lantern,  the  open  turret  placed  over  the  crossing  or  upon  a 
dome,  to  transmit  light  within. 

LlERNE,  a minor  rib  in  the  groined  vault,  introduced  to  form 
stellar  and  fan-patterns  in  the  vaulting  surface. 


M. 

Mausoleum,  the  splendid  tomb  or  sepulchral  chapel  for  the 
distinguished  dead. 

Modieeion,  the  sculptured  block  or  bracket  under  the  cornice 
in  the  Corinthian  style,  found  in  a modified  form  in  the 
Ionic  style. 

Mosaic,  decorative  designs  or  pictorial  representations  executed 
by  means  of  small  blocks  of  colored  stone  or  by  squares 
of  colored  enamel. 


Glossary  of  Technical  Terms. 


421 


Mouldings,  auy  one  of  the  rounds  or  hollows  which  are 
wrought  into  the  wall  or  affixed  thereto  in  order  to  make 
transitions  or  to  add  beauty. 

Mueeion,  the  perpendicular  stone  pieces,  sometimes  resembling 
columns,  sometimes  slender  piers,  which  make  the  bays 
or  lights  to  windows. 

MutueE,  the  rectangular  blocks  under  the  corona  of  the  Doric 
cornice. 

N. 

Narthex,  the  arcaded  porch  before  the  entrance  of  a Christian 
basilica. 

Nave,  the  part  of  the  church  leading  toward  the  choir  and  for 
the  use  of  the  laity. 

Niche,  a recess  in  the  wall  or  buttress,  or  doorway,  wherein  was 
placed  some  statue. 

o. 

OGEE,  a name  applied  to  a compound  curve,  composed  of  a con- 
vex and  a concave,  which  is  found  in  mouldings,  and  even 
in  arches. 

Oratory,  a small  chapel  for  prayer  connected  often  with 
churches,  often  with  private  houses. 

Ovoeo,  the  name  of  a moulding  resembling  the  convex  part  in 
the  head  of  a Doric  capital. 

P. 

PanEE,  the  space  included  within  mouldings  in  doors  or  walls. 
They  are  compartments,  shallow  or  deep,  designed  for  or- 
namental effect. 

Parapet,  a low  wall  along  the  edge  of  a roof,  to  lean  against, 
often  made  very  ornamental  in  the  Gothic  style. 

Pediment,  the  gable  portion  of  a portico  or  portal,  being  ob- 
tuse angled  in  classical,  but  acute  in  pointed  architecture 

Pendent,  a kind  of  inverted  cone  set  at  the  intersection  01 
groins  in  fan  tracery. 

Pendentive,  the  arch  cutting  off  the  corners  of  a square  inter- 
nally, so  that  a foundation  may  be  made  for  the  superirm 
posed  octagon  or  dome. 

PerisTyeE,  a range  of  columns  surrounding  an  edifice.  A peri- 
style is  circular  or  quadrilateral. 

PiERS,  masses  of  masonry  to  support  arches. 


422 


Glossary  of  Technical  Terms. 


Pilaster,  a projection  on  a wall  or  pier  having  resemblance  to 
columns  through  a kind  of  capital  for  its  upper  termi- 
nation. 

Pillar,  a pier  with  clustered  columns  upon  its  sides,  being 
either  round  or  polygonal. 

Pinnacle,  pyramidal  or  conical  caps  to  a buttress ; also  placed 
along  the  lines  of  the  parapet.  The  pinnacle  was  useful 
as  increasing  weight  to  resist  thrusts;  also  ornamental  be- 
cause of  the  forms  given  them. 

Porch,  the  structure  before  an  entrance,  forming  a covered 
shelter. 

Portal,  the  deeply  recessed  and  richly  ornamented  entrance  to 
cathedral  churches. 

Portico,  the  entrance  to  a building  in  which  columns  and  en- 
tablature are  the  principal  features. 

Presbytery,  the  earliest  designation  of  the  space  behind  the 
altar  where  the  clergy  sat. 

Q. 

OuatrEFOIL,  a panel  or  perforation  in  the  shape  of  a four-leafed 
flower. 

R. 

Rose-window,  a circular  window  with  radiating  tracery,  beauti- 
fully developed  in  the  Gothic  style. 


S. 

Screen,  the  ornamental  structure  separating  the  choir  or  an 
aisle-chapel  from  the  rest  of  the  building. 

Scroll,  a spiral  ornament  found  in  the  frieze  band  and  else- 
where ; a word  applied  also  to  the  volute  of  a column. 

Shaft,  the  portion  of  a column  between  base  and  capital ; also 
small,  slender  columns  are  called  shafts. 

Shed-roof,  a roof  with  one  set  of  rafters  falling  from  a higher 
to  a lower  wall. 

Soffit,  the  under  face  of  an  arch  or  an  entablature. 

Spandrel,  the  space  between  an  arch  and  the  label  or  stone- 
course  above. 

Spire,  the  pyramidal  or  conical  termination  to  towers. 

String-course,  horizontal  mouldings  dividing  a wall  into 
stories. 

Stylobate,  the  substructure  upon  which  a colonnade  rests. 


Glossary  of  Technical  Terms. 


423 


T. 

Tabernacle,  a niche  or  recess  for  a statue. 

Tambour,  the  cylindrical  base  upon  which  a dome  rests. 

Tower,  a strong  and  elevated  structure  attached  to  an  edifice, 
usually  quadrangular. 

Tracery,  the  ornamental  filling  in  windows,  panels,  and  else- 
where. 

Transepts,  the  portion  of  the  church  between  and  at  right  angles 
to  the  nave  and  choir. 

Transom,  the  horizontal  construction  dividing  a window  into 
its  stages. 

Trefoil,  an  ornamental  design  imitating  a three-leafed  flower. 

Tribune,  a name  given  to  the  presbyterium  in  a basilica. 

Triforium,  the  arcade  between  the  nave-arches  and  the  clerestory. 

Tympanum,  the  space  included  within  the  gable  or  arch  to  a 
door  or  window. 

V. 

Volute,  the  scroll  in  the  Corinthian  and  Ionic  capitals. 


GENERAL  INDEX 


A. 

Aix-la-Chapelle,  Chapel  of 
Charlemagne,  80,  81. 

Alby,  The  church  at,  230. 

Ani,  Cathedral  of,  86. 

Amiens,  Cathedral,  177,  189,  254. 

Arcade  as  Decoration,  With 
round  arch,  36;  with  pointed 
arch,  229. 

Arch,  Circular,  25;  pointed,  132, 
218. 

Architecture,  Roman,  3;  Gre- 
cian, 3 ; Etruscan,  21  ; Basil- 
ican, 44 ; Byzantine,  66 ; Ro- 
manesque, 94 ; Gothic,  171 ; 
Classical,  206 ; Renaissance, 
324 ; Modern,  374. 

Architectural  Orders,  Doric, 
7;  Ionic,  10;  Attic,  13;  Corin- 
thian, 15;  Tuscan,  21;  Com- 
posite, 22. 

Arch  - mouldings,  Romanesque, 
13 7 ; Gothic,  239. 

Argish,  Cathedral  of,  88. 

Ark-type,  Church  after  the,  44. 

Assemblies,  Christian,  43. 

Athens,  Parthenon,  6;  Erech- 
theuin,  13,  20,  21. 

Atlantes,  15. 

Attic  Order,  13. 

B. 

Baltimore,  Md.,  Brown  Memo- 
rial, 409. 

Balustrades,  Gothic,  232 ; devel- 
opment of,  301 . 

Baptistery,  Plans  of,  59;  of  the 
Eateran,  60. 

Barcelona,  Cathedral  of,  279. 

Baroque  Style,  357,  360. 

Basilica,  Plans  of,  46,  49;  eleva- 
tion of,  49;  nave  of,  53;  sanc- 
tuary of,  54  ; symbolism  of,  57 ; 
types  of,  60. 

Basle,  Minster,  97. 

Batalha,  Cloister  church,  280. 

Bay,  Romanesque,  290 ; Gothic,  291. 

Bonn,  Minster,  151. 

Boston,  New  Old  South  Church, 
412. 


Brandenburg,  St.  Mary’s,  273. 

Burgelin,  Convent  church,  148. 

Buttress,  Gothic,  234;  develop- 
ment of,  305. 

Byzantine  Architecture,  A new 
architectural  type,  66 ; one  type 
with  varieties,  66 ; its  domical 
forms,  67. 

Byzantine  Basilica,  Varieties  of, 
66 ; plans  of,  69,  73,  80 ; inte- 
• rior  of,  70,  76,  80 ; exterior  of, 
71,  81,  82,  84,  85,  86,  87,  88; 
domical  system  of,  74,  80,  82,  84. 

Byzantine  Style,  42  ; typical  ex- 
amples of,  69 ; Byzantine  char- 
acteristics, 77 ; varieties  of,  79. 

C. 

Caen,  Holy  Trinity,  114;  St.  Eti- 
enne, 159 ; St.  Pierre,  130,  349. 

Cambridge,  King’s  College  Chap- 
el, 220. 

Campanile,  62. 

Canterbury,  Cathedral,  162. 

Capitals,  Classical,  12,  13  ; Byzan- 
tine, 78  ; Romanesque,  135,  136 ; 
Gothic,  240,  241. 

Catacombs,  56. 

Caudebec,  Church  at,  227. 

Chalons,  Notre  Dame,  202. 

Characteristics  of  Styles,  By- 
zantine, 77  ; Romanesque,  13 1 ; 
Gothic,  231 ; Renaissance,  348, 
361. 

Chartres,  Cathedral,  198. 

Ceiling,  Flat  Ceiling , Classical, 
34  ; Basilican,  53,  55  ; Roman- 
esque, 106,  1 18,  129,  145,  156, 161, 
164  ; Renaissance,  340 ; Modern, 
393  > Cylindrical  Ceiling , 
Classical,  27 ; Byzantine,  75  ; 
Romanesque,  107,  119  ; Renais- 
sance, 338,  341  ; Domical  Ceil- 
ing, Classical,  27,  31,  32,  33; 
Basilican,  46,  55 ; Byzantine, 
67,  70,  74,  76.  80 ; Romanesque, 
143,  T55 ; Renaissance,  325,  326, 
339.  341,  342,  345.  .355,  395! 
Cross-vaulted , Classical,  27,  28  ; 
Basilican,  56;  Byzantine,  73; 
Romanesque,  109,  120, 132,  157 ; 

425 


426 


General  Index . 


Pointed-vaulted,  Gothic,  181, 
189,  215,  272,  277;  Modern,  396; 
Wooden  Ceilings , 265,  398 ; 
Development  of  Vaulted  Ceil- 
ings, 293. 

Choir,  Interior  of,  Basilican,  46, 
54 ; Byzantine,  69,  70,  73 ; Ro- 
manesque, 94,  95,  97,  98  ; Goth- 
ic, 177,  204,  219,  229,  277  ; Re- 
naissance, 325,  327,  340,  342, 
355  ; Modern,  375,  381, 388  ; «r- 
terior of,  Romanesque,  in,  115, 
116,  126,  130,  15T,  152,  156; 

Gothic,  202,  212,  258;  Renais- 
sance, 328,  349. 

Christian  Church,  Early  Chris- 
tian Church,  43  ; Greek  Church, 
66,  92;  Latin  Church,  92;  Pa- 
pal Church,  93 ; Roman  Cath- 
olic Church,  374 ; Protestant 
Church,  374. 

Cincinnati,  O.,  Old  brick  M.  E. 
Church,  379;  Morris  Chapel, 
381 ; English  Lutheran  Church, 
39L  393,  4oi. 

Classe,  St.  Apollinare,  61. 

Clermont,  Notre  Dame  du  Port, 
100,  107,  127,  156,  200,  203,  253. 

Cleveland,  O.,  Epworth  Meth- 
odist Episcopal  Church,  396 ; 
Calvary  Presbyterian  Church, 
397- 

Colmar,  St.  Martin’s,  205. 

Cologne,  Church  of  the  Apostles, 
152  ; Cathedral,  178,  225. 

Composite  Order,  22. 

Constantinople,  St.  Sophia,  71, 
73,  74,  76. 

Corinthian  Order,  15. 

Cornice,  Classical,  9,  12,  16,  19,  21, 
40;  Basilican,  55;  Byzantine, 
88;  Renaissance,  329,  332,  337, 
338,  339,  342,  358,  366 ; Develop- 
ment of,  301. 

Coutances,  Cathedral  of,  197. 

Crema,  S.  Maria,  350. 

Crypt,  56,  131. 

Cynthus,  Church  St.  Taxiarchus, 

85- 

D. 

Decoration,  Classical,  19,  29,  35, 
37,  39  ; Basilican,  54,  55,  56,  58 ; 
Byzantine,  75,  77,  83 ; Roman- 
esque, 101,  118,  120,  128,  133, 
140,  162,  163  ; Gothic,  180,  192, 
220,  221,  229,  230,  232,  234,  239, 
244,  255,  277,  283 ; Renaissance, 
336,  339,  34L  347,  349,  355,  358, 


360,  361 ; Modern,  393,  394,  396, 
398. 

Decorative  Arcade,  Classical, 
36 ; Basilican,  61 ; Byzantine, 
82,  86;  Romanesque,  112,  115, 
129,  130,  142,  143,  152,  163 ; 
Gothic,  197,  200,  208,  273,  282; 
Modern,  387,  405. 

Decorative  Columns,  136,  138, 
139,  140. 

Decorative  Foliage,  Classical, 
20,  36,  38,  39 ; Gothic,  241,  243. 

Decorative  Forms,  Development 
of,  295 ; Geometrical,  33,  135, 
193,  235,  296;  lineal,  134,  297. 

Dobrilugk,  Church  at,  95. 

Dome,  Classical,  27,  31,  32,  33,  68; 
Byzantine,  67,  70,  71,  74;  Re- 
naissance, 328,  329,  330,  333,  345, 
350,  352,  353,  355,  358,  364,  367 ; 
Modern,  395,  401,  402. 

Doric  Order,  7. 

Duluth,  Minn.,  Presbyterian 
Church,  406. 

Durham,  Cathedral,  160. 

E. 

Elements,  Of  Ecclesiastical  Arch- 
itecture, 288. 

Entablature,  Doric,  8;  Ionic, 
12,  18,  19 ; Attic,  13 ; Corin- 
thian, 17,  40. 

Etruscan  Order,  21. 

Esslingen,  Church  at,  235. 

F. 

Ferrara,  S.  Francisca,  325. 

Flamboyant  Style,  225. 

Florence,  S.  Miniato,  142  ; Cathe- 
dral, 283,  345. 

Eotheringay  Church,  223. 

Freiberg,  Cathedral,  139,  177,  182. 

Fresco  Painting,  359,  361. 

Frieze,  Classical,  8,  9,  12,  40;  Re- 
naissance, 338,  343,  367. 

Frontevrault,  Abbey  Church, 
155- 

G. 

Gargoyles,  23 7. 

Genoa,  S.  Maria,  326,  330. 

Gettysburg,  Memorial  Church, 
384,  39i- 

Gloucester,  Cathedral,  219. 

Grecian  Architecture,  3. 

Grecian  Temples,  4,  51. 

Grecian  Decoration,  35. 


General  Index. 


427 


Gothic  Architecture,  In  France, 
248 ; in  England,  256 ; in  Ger- 
many, 266;  elsewhere  in  Eu- 
rope, 276. 

Gothic  Basilica,  Structure  of, 
175,  188, 189;  plans  of,  177,  252, 
268 ; 279 ; nave  of,  179,  203,  204, 
213,  215,  272;  facades  of,  182, 
183,  185,  197,  198,  200,  208,  21 1, 
224,  227,  228,  250,  253,  258,  260, 
261,  262,  264,  271,  273,  275,  282; 
ornamentation  of,  193. 

Gothic  Spire,  209,  235 ; develop- 
ment of,  319. 

Gothic  Style,  171 ; construction 
of  Gothic  church,  175;  early 
Gothic,  195 ; perfected  Gothic, 
206;  late  Gothic,  217 ; striking 
features  of,  231. 

H. 

Halberstadt,  Cathedral,  188, 194. 

Heilsbronn,  Church  at,  138. 

Heisterbach,  Abbey  church,  97. 

Howden,  Church,  262. 

Humanism,  322. 

I. 

Invalides  (Paris),  332. 

Ionic  Order,  10. 

J. 

Jamestown,  N.  Y.,  St.  Luke’s,  276. 

Jersey  City,  N.  J.,  St.John’s,  389, 
407. 

Jesuit  Style,  360,  361. 

K. 

Konigslutter,  Abbey  church,  96. 

Kuttenberg,  St.  Barbara,  212. 

L. 

Laach,  Abbey  church,  115. 

Leaf  Decoration,  Classical,  20, 
36,  38,  39;  Gothic,  241,  243,  298, 
299,  300. 

Lineal  Decoration,  134, 136,  297. 

Lichfield,  Cathedral  of,  261. 

Lincoln,  Cathedral  of,  181. 

London,  Westminster  Abbey,  204, 
260 ; Old  St.  Paul’s,  258 ; St. 
Paul’s,  327,  342,  367 ; St.  Bride’s, 
335;  St.  Martin’s,  341. 

M. 

Magdeburg  Cathedral  of,  269. 

Mainz,  Cathedral  of,  126. 

Mauersmunster,  Church  at,  112. 


Michael  Angelo,  352,  369. 

Milan,  S.  Maria,  328. 

Modern  Architecture,  Develop- 
ment of  church  edifice,  377 ; 
ground  plans  of,  388 ; types  of 
interiors,  393 ; styles  of  the 
modern  church,  399 ; architec- 
ture and  worship  of  Christians, 
413- 

Modern  Church,  Plans  of,  376, 
377,  388,  389,  390,  391 ; exteriors 
of,  378,  379,  381,  382,  383,  385, 
386,  387,  401,  402,  403,  405,  406, 
407,  408,  409,  41 1,  412  ; interiors 
of,  393,  395,  396,  398. 

Mosaics,  56,  79. 

Moscow,  Church  of  the  Assump- 
tion, 82 ; cathedral,  84. 

Mouldings,  Romanesque,  137; 
Gothic,  239. 

Mullions,  Pointed  style,  237,  312. 

Munich,  Cathedral,  177. 

N. 

Nashville,  Tenn.,  McKendree 
church,  382,  383. 

Nave,  Basilican,  50,  52 ; Byzan- 
tine, 70,  76 ; Romanesque,  106, 
107,  109,  118,  119,  120,  129,  133, 
162,  164;  Gothic,  179,  203,  213, 
215 ; development  of,  290 ; Re- 
naissance, 338,  339,  341,  355; 
Modern,  393,  396,  398. 

Net  Vaulting,  214,  220. 

New  Haven,  Conn.,  St.  Mary’s, 
388,  408. 

Newton,  Mass.,  Baptist  Church, 

405. 

New  York  City,  Madison  Avenue 
M.  E.  Church,  403. 

Nocera,  Temple  at,  32. 

Norman  Romanesque  Style,  In 
Germany,  149 ; in  France,  157 ; 
in  England,  160. 

N O R T HAM  PTONSHIRE,  Castor 
Church,  163. 

Norwalk,  O.,  M.  E.  Church,  387, 
392- 

Norwich,  St.  Stephen’s,  265. 

Noyen,  Cathedral  of,  252. 

O 

Orleans,  Cathedral  of,  228. 

Ornamental  Forms,  Classical, 
20,  34;  Romanesque,  101,  139; 
Gothic,  192,  232 ; Development 
of,  295;  Renaissance,  341,  360, 
361. 

Oxford,  Divinity  School,  221. 


428 


General  Index. 


p. 

Paffenheim,  Church  at,  130. 

Palermo,  Chapel  at,  118. 

Palladio,  351. 

Palma,  Cathedral  of,  279. 

Pantheon,  Roman,  30, 31 ; French, 
263. 

Papacy,  147. 

Parapet,  Development  of,  301. 

Paris,  Sainte  Chapelle,  250 ; Da 
Sorbonne,  329  ; Invalides,  332 ; 
Madeleine,  337  ; chapel  at  Ver- 
sailles, 339  ; Val  de  Grace,  358 ; 
Pantheon,  363,  364. 

Parma,  Cathedral  of,  96. 

Pavia,  Certosa,  347. 

Perigueux,  St.  Front,  155. 

Perpendicular  Pointed  Style, 
217. 

Peterboro,  Cathedral,  161. 

Phidadelphia,  Penn.,  West 
Spruce  Street  Church,  377,  41 1. 

Piacenza,  Cathedral,  146. 

Pier,  Square,  69,  72,  75,  109 ; cylin- 
drical, 120,  153,  161,  162,  164; 
clustered,  107,  120,  129,  150,  187, 
213,  240;  development  of,  289. 

Pigtail  and  Periwig  Style,  357. 

Pisa,  Cathedral  of,  145. 

Pointed  Architecture,  194,  206. 

Portal,  Grecian,  20 ; Romanesque, 
138,  139;  Gothic,  205,  216,  280; 
development  of,  313. 

Portico,  Classical,  14 ; Renais- 
sance, 329,  333,  351,  358,  364. 

POLYCHROMY,  9. 

R. 

Ravenna,  St.  Vitale’s,  69,  70. 

Renaissance  Architecture,  In 
Italy,  368 ; in  France,  369 ; in 
England,  370 ; in  Germany  and 
Spain,  370. 

Renaiss  ance  Basilica,  Plans  and 
vaulting,  325,  326,  32 7,  363;  fa- 
?ades  of,  328,  329,  330,  333,  334, 
335,  337,  315,  317,  35°,  352,  353, 
358,  359,  364,  367  ,'  interiors  of, 
338,  339,  34G  312,  355. 

Renaissance  Style,  Structural 
features  of,  325 ; exteriors  of, 
328 ; interiors  of,  337 ; Periods 
of,  344- 

Rheims,  Cathedral  of,  208. 

Rib-vaulting,  157,  346. 

Riddags  hausen,  Cistercian 
Church,  in. 

Ripon,  Cathedral,  129. 


Rococo  Style,  359. 

Romanesque  Architecture,  In 
Italy,  141  ; in  Germany,  147 ; in 
France,  153;  in  England,  159; 
in  Spain,  165. 

Romanesque  Basilica,  Plans  of, 
95,  96,  97,  98,  104,  142,  143,  145, 
152,  155,  156,  159,  160;  elevation 
of,  99,  100 ; interiors  of,  106, 
107,  109,  118,  119,  120,  129,  133; 
facades  of,  103,  in,  112,  114, 
115,  1 16,  123,  124,  126,  142,  143, 
145,  146,  150,  151,  152;  decora- 
tion of,  101,  102,  1 18,  120,  133, 
134,  !36,  138,  139,  140,  163,  296, 
297. 

Romanesque  Style,  Construc- 
tion of  the  Romanesque 
church,  94  ; early  Romanesque, 
104 ; perfected  Romanesque, 
117;  Romanesque  transitional, 
127;  striking  features  of,  131  ; 
tower,  development  of,  317. 

Roman  Architecture,  3. 

Roman  Domical  Temples,  68. 

Roman  Catholic  Church,  323. 

Rome,  Cloaca  Maxima,  23  ; Arch  of 
Titus,  24  ; Theater  of  Marcellus, 
25;  Coliseum,  26;  Baths  of 
Caracalla,  28 ; Pantheon,  30, 31 ; 
Arch  of  Constantine,  48;  St. 
Clement,  46;  St.  Paul’s  beyond 
the  wails,  43,  49,  50,  54 ; An- 
cient St.  Peter’s,  52;  Lateran, 
60;  Cloister  of  St.  Paul’s,  140; 
St.  Peter’s,  327,  338,  353,  355. 

Rosheim,  Church  at,  104. 

Rouen,  Tomb  of  Cardinal  d’Am- 
boise,  360. 

S 

Santiago,  Cathedral  of,  119. 

Schlettstadt,  Church  at,  268. 

Sepulture,  Place  of,  244,  254. 

Sienna,  Cathedral  of,  282. 

Spires,  Cathedral,  109,  124. 

St.  Albans,  Abbey  church,  116. 

St.  Augustine,  Fla.,  M.  E. 
Church,  386. 

St.  Neot’s,  Church  of,  224. 

Stonehenge,  Church  at,  164. 

Strasburg,  Cathedral,  191,  210, 
213- 

Symbolism,  56,  57. 

T. 

Tables,  Of  Basilican  style,  63  ; of 
Byzantine  style,  90  ; of  Roman- 
esque style,  168 ; of  Gothic 


General  Index. 


429 


style,  285  ; of  Renaissance  style, 
372. 

Taunton,  St.  Mary’s,  264. 

Thann,  Church  at,  216,  269. 

Toledo,  Cathedral  of,  277. 

Tournay,  Cathedral  of,  98. 

Troyes,  Madeleine,  229. 

U. 

Ulm,  Cathedral  of,  178. 

. V. 

Vaults,  Cylindrical  28 ; cross,  28 ; 
domical,  28 ; six-parted,  157 ; 
ramiform,  219;  fan-shaped,  220; 
pendent,  221. 

Vault  - mouldings,  Romanesque 
137;  Gothic,  239. 


Venice,  St.  Mark’s,  143;  St- 
Stephen’s,  271,  272;  St.  Sav- 
ior’s, 352. 

Vignola,  369. 

VlTRY  DE  FRANfAIS,  334. 

w. 

Waltham,  Church  at,  133. 
Washington  Court  House,  O., 
M.  E-  Church,  392,  395,  402. 
Winchester,  Cathedral  of,  215. 
Window,  Development  of,  307. 
Window  Tracery,  236. 

Wool  worth,  St.  Mary’s,  359. 
Worms,  Cathedral  of,  150. 

Y. 

York,  Cathedral  of,  185. 


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